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This Special Issue showcases poets who enhance the breadth of modernist literary practices. The cohering concept is a complex relationship to both gender and modernity through original experiments with language. Leading scholars explore writers who both fit and extend orthodox modernist histories: Marianne Moore, H.D., Edna St Vincent Millay, Dorothy Parker, Katherine Mansfield, and Charlotte Mew were born around the cusp of the twentieth century and flourished during the 1920s and 1930s; Lynette Roberts, Helen Adam and Hope Mirrlees were contemporaries but publishing or recognition came later; the next generation can include Gwendolyn Brooks, Stevie Smith and Muriel Spark; Veronica Forrest-Thomson represents a third generation who published into the 1980s, while Frances Presley and M. NourbeSe Philip hinge this group with the contemporary poets Carol Watts and Natasha Trethewey, whose works continue and rejuvenate progressive stylistics. The essays offer new readings of both well-known and unfamiliar poets. They are truly groundbreaking in plundering diverse theoretical fields in ways that disturb any lingering notions of a homogenized women’s poetry. The authors supplant into literary poetic analysis notions of geometry and mathematics, maritime materialities, tourism and taxonomy, architecture, classicism, folk art, Christianity and death, whimsy and empathy.

Literature & literary studies --- H.D. --- Helen in Egypt --- Adorno --- late modernism --- epic --- avant-garde --- Gwendolyn Brooks --- architecture --- modernity --- Chicago --- Katherine Mansfield --- symbolism --- fin-de-siècle --- decadence --- modernism --- poetry --- Arthur Symons --- Stevie Smith --- T.S. Eliot --- The Waste Land --- Greek gods --- female protagonists --- Christianity --- suicide --- death --- Charlotte Mew --- Modernism --- empathy --- Edna St. Vincent Millay --- masculinity --- lyric --- drama --- verse drama --- gender --- genre --- race --- tourism --- taxonomy --- poetics --- Marianne Moore --- Natasha Trethewey --- Thomas Jefferson --- Scotland --- ballads --- kaleidoscope --- Charles Bernstein --- Edwin Morgan --- folk art --- Welsh Modernism --- Feminism --- nationalism --- ethnography --- geomodernisms --- modernist poetics --- Caribbean poetry --- Zong! --- M. NourbeSe Philip --- black poetry --- critical ocean studies --- multispecies --- materiality --- ecocriticism --- Moore --- Parker --- whimsy --- New York --- geometry --- place --- site-specific poetry --- mathematics --- metaphor --- Exmoor --- mid-Wales --- stone settings --- Zeta function --- prime numbers --- pastoral

Choose an application

• Reference Manager
• EndNote
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This Special Issue showcases poets who enhance the breadth of modernist literary practices. The cohering concept is a complex relationship to both gender and modernity through original experiments with language. Leading scholars explore writers who both fit and extend orthodox modernist histories: Marianne Moore, H.D., Edna St Vincent Millay, Dorothy Parker, Katherine Mansfield, and Charlotte Mew were born around the cusp of the twentieth century and flourished during the 1920s and 1930s; Lynette Roberts, Helen Adam and Hope Mirrlees were contemporaries but publishing or recognition came later; the next generation can include Gwendolyn Brooks, Stevie Smith and Muriel Spark; Veronica Forrest-Thomson represents a third generation who published into the 1980s, while Frances Presley and M. NourbeSe Philip hinge this group with the contemporary poets Carol Watts and Natasha Trethewey, whose works continue and rejuvenate progressive stylistics. The essays offer new readings of both well-known and unfamiliar poets. They are truly groundbreaking in plundering diverse theoretical fields in ways that disturb any lingering notions of a homogenized women’s poetry. The authors supplant into literary poetic analysis notions of geometry and mathematics, maritime materialities, tourism and taxonomy, architecture, classicism, folk art, Christianity and death, whimsy and empathy.

H.D. --- Helen in Egypt --- Adorno --- late modernism --- epic --- avant-garde --- Gwendolyn Brooks --- architecture --- modernity --- Chicago --- Katherine Mansfield --- symbolism --- fin-de-siècle --- decadence --- modernism --- poetry --- Arthur Symons --- Stevie Smith --- T.S. Eliot --- The Waste Land --- Greek gods --- female protagonists --- Christianity --- suicide --- death --- Charlotte Mew --- Modernism --- empathy --- Edna St. Vincent Millay --- masculinity --- lyric --- drama --- verse drama --- gender --- genre --- race --- tourism --- taxonomy --- poetics --- Marianne Moore --- Natasha Trethewey --- Thomas Jefferson --- Scotland --- ballads --- kaleidoscope --- Charles Bernstein --- Edwin Morgan --- folk art --- Welsh Modernism --- Feminism --- nationalism --- ethnography --- geomodernisms --- modernist poetics --- Caribbean poetry --- Zong! --- M. NourbeSe Philip --- black poetry --- critical ocean studies --- multispecies --- materiality --- ecocriticism --- Moore --- Parker --- whimsy --- New York --- geometry --- place --- site-specific poetry --- mathematics --- metaphor --- Exmoor --- mid-Wales --- stone settings --- Zeta function --- prime numbers --- pastoral

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"On the 100th anniversary of T.S. Eliot's modernist masterpiece, a rich cultural history of The Waste Land's creation, explosive impact, and enduring influence. When T.S. Eliot published The Waste Land in 1922, it put its 34-year-old author on a path to worldwide fame and the Nobel Prize. "But," as Jed Rasula writes, "The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern." In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, "April is the cruellest month, breeding / Lilacs out of the dead land," to its closing Sanskrit mantra, "Shantih shantih shantih," The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound's injunction to "make it new." What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot's storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the "men of 1914."Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century's most influential poem"--

Eliot, T. S. --- Waste land (Eliot, T.S.) --- A Season in Hell. --- Aldous Huxley. --- Aphorism. --- Arnaut Daniel. --- Arthur Cravan. --- Arthur Rimbaud. --- Arthur Symons. --- Assonance. --- Blaise Cendrars. --- Caresse Crosby. --- Charles Baudelaire. --- Charles Demuth. --- Charles Olson. --- Charles Reznikoff. --- Conrad Aiken. --- D. H. Lawrence. --- Dada. --- Darius Milhaud. --- De Profundis (letter). --- Demimonde. --- E. M. Forster. --- Erudition. --- Essay. --- Eustace Mullins. --- Existentialism. --- Ezra Pound. --- F. L. Lucas. --- F. S. Flint. --- Floyd Dell. --- Ford Madox Ford. --- Fredric Wertham. --- Gelett Burgess. --- Georg Wilhelm Friedrich Hegel. --- George Antheil. --- Gerontion. --- Gilbert Murray. --- Guillaume Apollinaire. --- Hart Crane. --- Hector Berlioz. --- Henri Bergson. --- Herbert Spencer. --- Hugh Ross Williamson. --- Hugh Selwyn Mauberley. --- Imagism. --- Irving Babbitt. --- James Abbott McNeill Whistler. --- James Huneker. --- Jeremiad. --- John Crowe Ransom. --- John Masefield. --- John Middleton Murry. --- John Peale Bishop. --- Joseph Moncure March. --- Karl Shapiro. --- Kurt Schwitters. --- Kurt Weill. --- Lothario. --- Louis MacNeice. --- Louis Untermeyer. --- Ludwig Tieck. --- Lytton Strachey. --- Malcolm Cowley. --- Manifesto of Futurism. --- Marcel Broodthaers. --- Marcel Duchamp. --- Mario Praz. --- Mythopoeia. --- New Criticism. --- Nian Rebellion. --- Pierre Leroux. --- Poetry. --- Prometheus. --- Randall Jarrell. --- Revolution. --- Revue. --- Richard Aldington. --- Ripostes. --- Robert Bridges. --- Robert Frost. --- Rosicrucianism. --- Rupert Brooke. --- Sherwood Anderson. --- Symbolist Manifesto. --- T. E. Hulme. --- The Birth of Tragedy. --- The Egoist (periodical). --- The Machiavellian Moment. --- Thomas Carlyle. --- Thus Spoke Zarathustra. --- Tristan Tzara. --- V. --- Venusberg (mythology). --- Victor Plarr. --- Vorticism. --- W. B. Yeats. --- W. H. Auden. --- Wallace Stevens. --- Walter Pater. --- William Empson. --- Wyndham Lewis.