Christos Hadjiyiannis – författare

Poetry has always courted suffering. Poets sing their suffering, we've been told, and there can be no poetry without suffering. Louise Glück wasn't too sure about that. Suffering features centrally in her poetry and she discussed its role in poetry in her critical writing, where she often retained the language of poetry as martyrdom. However, she was keen to stress that suffering's part in composition has been misplaced and misunderstood, its function idealised and fetishised. Surveying a wide range of texts about poetry's relationship to suffering, and drawing surprising links between very different voices, this book situates Glück both in the tradition of Rainer Maria Rilke's lyrical suffering and in the tradition of T. S. Eliot's impersonal approach to poetry. Glück's most powerful and characteristic discussion of suffering, it argues, takes place in her 1992 volume, The Wild Iris.

Poetry has always courted suffering. Poets sing their suffering, we've been told, and there can be no poetry without suffering. Louise Glück wasn't too sure about that. Suffering features centrally in her poetry and she discussed its role in poetry in her critical writing, where she often retained the language of poetry as martyrdom. However, she was keen to stress that suffering's part in composition has been misplaced and misunderstood, its function idealised and fetishised. Surveying a wide range of texts about poetry's relationship to suffering, and drawing surprising links between very different voices, this book situates Glück both in the tradition of Rainer Maria Rilke's lyrical suffering and in the tradition of T. S. Eliot's impersonal approach to poetry. Glück's most powerful and characteristic discussion of suffering, it argues, takes place in her 1992 volume, The Wild Iris.

Despite sustained scholarly interest in the politics of modernism, astonishingly little attention has been paid to its relationship to Conservatism. Yet modernist writing was imbricated with Tory rhetoric and ideology from when it emerged in the Edwardian era. By investigating the many intersections between Anglophone modernism and Tory politics, Conservative Modernists offers new ways to read major figures such as T. S. Eliot, Ezra Pound, T. E. Hulme, and Ford Madox Ford. It also highlights the contribution to modernism of lesser-known writers, including Edward Storer, J. M. Kennedy, and A. M. Ludovici. These are the figures to whom it most frequently returns, but, cutting through disciplinary delineations, the book simultaneously reveals the inputs to modernism of a broad range of political writers, philosophers, art historians, and crowd psychologists: from Pascal, Burke, and Disraeli, to Nietzsche, Le Bon, Wallas, Worringer, Ribot, Bergson, and Scheler.

For a long time, people had been schooled to think of modern literature's relationship to politics as indirect or obscure, and often to find the politics of literature deep within its unconsciously ideological structures and forms. But twentieth-century writers were directly involved in political parties and causes, and many viewed their writing as part of their activism. This Companion tell a story of the rich and diverse ways in which literature and politics over the twentieth century coincided, overlapped - and also clashed. Covering some of the century's most influential political ideas, moments, and movements, nineteen academic experts uncover new ways of thinking about the relationship between literature and politics. Liberalism, communism, fascism, suffragism, pacifism, federalism, different nationalisms, civil rights, women's rights, sexual rights, Indigenous rights, environmentalism, neoliberalism: twentieth-century authors wrote in direct response to political movements, ideas, events, and campaigns.