By Harold Bloom
The increase of modernism marked one of many significant transitional classes in modern literature. the yankee modernist poets created a wealthy legacy of their verse explorations of a global touched through conflict, speedy industrialization, and the turning out to be perceived alienation of the person. The innovators featured during this quantity comprise Ezra Pound, e.e. cummings, Edna St. Vincent Millay, and Carl Sandburg and their abiding impacts. serious essays learn those poets and their works, with a chronology, bibliography, index, and an introductory essay by means of grasp student Harold Bloom finishing the identify.
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Additional resources for American Modernist Poets (Bloom's Modern Critical Views)
The past is mocked and then cremated, thus clearing space for the myriad new examples of beauty: 46 Peter Schmidt Papers (consumed) scattered to the winds. Black. The ink burned white, metal white. So be it. Hell’s fire. Fire. Sit your horny ass down. What’s your game? Beat you at your own game, Fire. Outlast you: Poet Beats Fire at Its Own Game! The bottle! the bottle! the bottle! the bottle! I give you the bottle! (P, 113–18) The birth of spring in Spring and All (1923) was similarly preceded by a drunken, violent upheaval: “The imagination, intoxicated by prohibitions, rises to drunken heights to destroy the world.
What I like,” Picabia boasted, “is to invent, to imagine, to make myself a new man every moment, then forget him, forget everything. ”7 Similarly, in Paterson, Book Three, Section III, Williams hoped that the flood would destroy the past and allow him to begin afresh: “how to begin to find a shape—to begin to begin again, / . . / . . The leaf torn from / the calendar. All forgot” (P, 140). This 48 Peter Schmidt description may seem like a general paraphrase of Dada’s belief that memory should be obliterated, but mixed in with Williams’ Dadaist praise of amnesia is what may be a specific reference to Picabia’s analogy of erasure: “It is dangerous to leave written that which is badly written.
The bottle! the bottle! the bottle! the bottle! I give you the bottle! (P, 113–18) The birth of spring in Spring and All (1923) was similarly preceded by a drunken, violent upheaval: “The imagination, intoxicated by prohibitions, rises to drunken heights to destroy the world. Let it rage, let it kill” (CP1, 179). The following excerpts from Ball’s diary in transition may have inspired Williams to make the library in Book Three a synecdoche for the vaguer world of Spring and All and to shift his symbolic liberating action from murder to arson: “January 9, 1917—We should burn all libraries and allow to remain only that which every one knows by heart.