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eBay-Artikelnr.:335347622589
Artikelmerkmale
- Artikelzustand
- Sehr gut
- Hinweise des Verkäufers
- ISBN-10
- 1586540548
- Publication Name
- Story Line Press
- Type
- Paperback
- ISBN
- 9781586540548
- Book Title
- Transatlantic Connections
- Item Length
- 8.5in
- Publisher
- Red Hen Press
- Publication Year
- 2019
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.6in
- Genre
- Literary Criticism, History
- Topic
- Comparative Literature, Modern / 20th Century, Social History, Poetry, American / General, European / English, Irish, Scottish, Welsh
- Item Width
- 5.5in
- Item Weight
- 9.6 Oz
- Number of Pages
- 262 Pages
Über dieses Produkt
Product Information
In the 1950s, a group of brash young British writers coalesced into a controversial poetic and critical movement known simply as the Movement. In the 1980s, a group of brash young American writers coalesced into an equally controversial poetic and critical movement known as New Formalism. Especially since the British coalition known as The Movement was short-lived, surviving less than a decade, few people could have predicted that it would have an impact that was both far-reaching and long-lasting. This groundbreaking new study shows that the Movement lives on, in a very real way, in New Formalist poetics and poetry.
Product Identifiers
Publisher
Red Hen Press
ISBN-10
1586540548
ISBN-13
9781586540548
eBay Product ID (ePID)
17038567646
Product Key Features
Book Title
Transatlantic Connections
Format
Trade Paperback
Language
English
Topic
Comparative Literature, Modern / 20th Century, Social History, Poetry, American / General, European / English, Irish, Scottish, Welsh
Publication Year
2019
Genre
Literary Criticism, History
Number of Pages
262 Pages
Dimensions
Item Length
8.5in
Item Height
0.6in
Item Width
5.5in
Item Weight
9.6 Oz
Additional Product Features
Lc Classification Number
Pr605.M68w35 2019
Reviews
Quotes from Transatlantic Connections I had no idea who Larkin was then, but I knew immediately that he was the writer I had been looking for--not merely a master but a confidant. --Dana Gioia We owe a great debt to poets like Richard Wilbur, Anthony Hecht, X. J. Kennedy, Thom Gunn (to name a few--add J. V. Cunningham and Philip Larkin to the list . . .), who held the fort, so to speak, during the siege. --Leslie Monsour Of course, in the older generation, even though they were a distinct minority, Wilbur and Larkin and Kennedy and Bowers and Gunn--and, to mention a few others, Turner Cassity, Henri Coulette, Charles Gullans, W. D. Snodgrass, and Helen Pinkerton--were all writing beautiful formal poems, and that gave all of us who were younger and interested in form, great hope. --Timothy Steele We love Larkin for the moments in which the gloom lifts, but we love him even more for the gloom itself. It is not by proposing an alternative vision in the manner of Yeats or Eliot that Larkin transcends the darkness--whether of modern squalor, or death, or simply the banal disappointments of ordinary late-twentieth-century lives--but by crystallizing it in verse so sharp and exact and surprising that, once read, it is never forgotten. --Katha Pollitt Thom Gunn will no doubt prove to be a pivotal figure. For one thing, many of us looked up to him when we were young as a model of what the poet could be, and what we were so often told we could not be--that is, he felt free to write in any verse form he chose and never restricted himself in terms of subject matter. . . . Gunn, as an Englishman living in America, seemed a bridge to multiple possibilities for the art. --David Mason, Of course, in the older generation, even though they were a distinct minority, Wilbur and Larkin and Kennedy and Bowers and Gunn--and, to mention a few others, Turner Cassity, Henri Coulette, Charles Gullans, W. D. Snodgrass, and Helen Pinkerton--were all writing beautiful formal poems, and that gave all of us who were younger and interested in form, great hope. --Timothy Steele, In Transatlantic Connections, Theresa Malphrus Welford explores the complex, sometimes fraught influence of the Movement on America's New Formalism--on not just its aesthetics but also its sense of the poet's ideal role in society. Once marginalized--even reviled--New Formalism has, four decades on, seeped into and transformed American poetry, sparking a renewed interest in meter, rhyme, narrative and received forms, even among primarily free verse poets. Welford persuasively and meticulously demonstrates how a loose affiliation of critically unfashionable British poets left an imprint on contemporary American poetry. --April Lindner, We love Larkin for the moments in which the gloom lifts, but we love him even more for the gloom itself. It is not by proposing an alternative vision in the manner of Yeats or Eliot that Larkin transcends the darkness--whether of modern squalor, or death, or simply the banal disappointments of ordinary late-twentieth-century lives--but by crystallizing it in verse so sharp and exact and surprising that, once read, it is never forgotten. --Katha Pollitt, This remarkable book offers a series of insights into a significant--and, until now, largely neglected--transatlantic poetic connection. Theresa Welford offers a convincing demonstration of just how much the New Formalist poets owe to their predecessors in the Movement--and just how intricate and influential were the personal and textual exchanges between them. Her argument is finely nuanced, acknowledging both the similarities and the differences between the American and British groups. Her analyses of individual poems are subtle, sensitive and rigorous; and her argument places the texts and poets she discusses in exactly the right historical and cultural contexts. This is a groundbreaking book about an international poetic dialogue; it will be a vital and indispensable resource for anyone interested in the recent past, present and future of poetry. --Richard J. Gray, University of Essex Emeritus Professor and author of critical books including A History of American Literature, American Poetry of the Twentieth Century, A Web of Words: The Great Dialogue of Southern Literature, and After the Fall: American Literature Since 9/11., I had no idea who Larkin was then, but I knew immediately that he was the writer I had been looking for--not merely a master but a confidant. --Dana Gioia, We owe a great debt to poets like Richard Wilbur, Anthony Hecht, X. J. Kennedy, Thom Gunn (to name a few--add J. V. Cunningham and Philip Larkin to the list . . .), who held the fort, so to speak, during the siege. --Leslie Monsour, In her new book, Theresa Malphrus Welford offers a cogent study of poets separated by an ocean yet connected by sensibility. Through meticulous research, as well as interviews conducted especially for her project, she convincingly demonstrates the Movement's profound influence on the first wave of New Formalists. Welford navigates the currents of literary history with admirable grace: we learn of Donald Davie's mentorship of Dana Gioia, Timothy Steele's early embrace of Thom Gunn, Mark Jarman's subtle homages to Philip Larkin, and much more. In reconstructing the influence of both movements on poets writing today, Welford has produced an essential critical work that illuminates the productive kinship of two distinct generations and traditions. --Ned Balbo, author of four bools of poetry: Galileo's Banquet, Lives of the Sleepers, The Trials of Edgar Poe and Other Poems, and Upcycling Paumanok, Thom Gunn will no doubt prove to be a pivotal figure. For one thing, many of us looked up to him when we were young as a model of what the poet could be, and what we were so often told we could not be--that is, he felt free to write in any verse form he chose and never restricted himself in terms of subject matter. . . . Gunn, as an Englishman living in America, seemed a bridge to multiple possibilities for the art. --David Mason
Copyright Date
2019
Target Audience
Trade
Lccn
2019-019298
Artikelbeschreibung des Verkäufers
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eBay-Artikelnr.:335347622589
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