A Concise Companion to Postwar British and Irish Poetry by Nigel Alderman, C. D. Blanton
By Nigel Alderman, C. D. Blanton
This quantity introduces scholars to an important figures, events and tendencies in post-war British and Irish poetry.
- An historic evaluate and important creation to the poetry released in Britain and eire over the past half-century
- Introduces scholars to figures together with Philip Larkin, Ted Hughes, Seamus Heaney, and Andrew Motion
- Takes an integrative method, emphasizing the complicated negotiations among the British and Irish poetic traditions, and pulling jointly competing developments and positions
- Written by means of critics from Britain, eire, and the United States
- Includes feedback for additional analyzing and a chronology, detailing crucial writers, volumes and events
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Extra info for A Concise Companion to Postwar British and Irish Poetry
And the two poets would also concur in specifying the period of the timely as the years comprised by the two World Wars – explicitly defined as such by Eliot, effectively framed by Pound as he speaks from the end of World War II of a time from before World War I as the interval of a now completed work. Seeing the two poetic careers from these two respective points helps to mark the historical moment of modernist poetry, and it also suggests that the experience of war, in defining the times, also provides the historical content and timely import of their verse.
Together, they are offered as a rough, necessarily provisional, guide to a period that is perhaps still too close to view in a single historical glance, but one that is simultaneously receding from the recollections of simple memory into those of literary history. What is certain is that the years between 1945 and now have witnessed a radical transformation in the cultures of the British archipelago and the larger global system in which they negotiate an often uneasy place. From the rise of the welfare state in the 1940s to its fall in the 1980s, from the proclamation of the Irish Republic in 1949 to the Good Friday Accords in 1998, from the dismantling of the A Concise Companion to Postwar British and Irish Poetry Edited by Nigel Alderman and C.
Rather than fracturing the poetic field, experimental poetic practices thus constitute a mode of orientation toward the whole. The volume’s final cluster of essays approaches the changes wrought by the postwar era through three of the most venerable topoi in English poetry: the lyric self, place, and religion. In “Contemporary British Women Poets and the Lyric Subject,” Linda Kinnahan analyzes the reoccupation of the lyric “I” by groups to whom it has traditionally been denied, at least in the canons of high culture.