By Harold Bloom
The increase of modernism marked one of many significant transitional sessions in modern literature. the yankee modernist poets created a wealthy legacy of their verse explorations of an international touched through warfare, fast industrialization, and the becoming 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 affects. severe essays learn those poets and their works, with a chronology, bibliography, index, and an introductory essay via grasp student Harold Bloom finishing the name.
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Additional resources for American Modernist Poets (Bloom's Modern Critical Views)
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. 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.
From Augustus Caesar’s point of view in history or God’s point of view above history, the epics are retrospective. In the romantic period, the epic’s prospective and retrospective points of view began to dissolve into one, creating an epic without a frame in which the poet’s developing consciousness became the one subject in romantic art that had the nobility and universality traditional epic narratives required. Some indication of this redefinition of epic retrospection by romanticism can be seen in Wordsworth, who planned a four-part epic describing his growth as a poet but was able to finish only its prelude.
Rather than repeat Cleo Kearns, I intend to speculate here on the place of The Waste Land in romantic tradition, particularly in regard to its inescapable precursor, Whitman. In his essay, “The Pensées of Pascal” (1931), Eliot remarked on Pascal’s adversarial relation to his true precursor, Montaigne: One cannot destroy Pascal, certainly; but of all authors Montaigne is one of the least destructible. You could as well dissipate a fog by flinging hand-grenades into it. For Montaigne is a fog, a gas, a fluid, insidious element.