Michael Thurston – författare

Combining detailed explorations of both mainstream and experimental poets with a clear historical and literary overview, Reading Postwar British and Irish Poetry offers readers at all levels an ideal guide to the rich body of poetic works published in Britain and Ireland over the last half-century.            Features detailed discussions of individual poems that are widely available in anthologies and selected poems volumesPays explicit attention to how to read the poems, focusing on language and form and the institutional conditions of literary possibility in which poets workedIncludes poets of all types and styles from throughout the post-war period, including canonical and mainstream poets alongside experimental poets, women, and poets of color

Rethinking American activist poetry of the 1920s and 1930s; ""Poetry makes nothing happen,"" wrote W.H. Auden in 1939, expressing a belief that came to dominate American literary institutions in the late 1940s - the idea that good poetry cannot, and should not, be politically engaged. By contrast, Michael Thurston here looks back to the 1920s and 1930s to a generation of poets who wrote with the precise hope and the deep conviction that they would move their audiences to action. He offers an engaging new look at the political poetry of Edwin Rolfe, Langston Hughes, Ezra Pound, and Muriel Rukeyser. Thurston combines close textual reading of the poems with research into their historical context to reveal how these four poets deployed the resources of tradition and experimentation to contest and redefine political common sense. In the process, he demonstrates that the aesthetic censure under which much partisan writing has labored needs dramatic revision. Although each of these poets worked with different forms and toward different ends, Thurston shows that their strategies succeed as poetry. He argues that partisan poetry demands reflection not only on how we evaluate poems but also on what we value in poems and, therefore, which poems we elevate.

Drawing on a variety of interdisciplinary debates in cultural studies and contemporary theory, Modernism, Inc. provides a new look at the relationship between modernism and postmodernism within the critical frame of twentieth-century American culture.Organized around the idea of "incorporation"--embodiment, repressed memory, and advanced capitalism--Modernism, Inc. covers a wide range of topics: Josephine Baker's "hot house style"; the president's penis in American political life; myth-making and the Hoover Dam; trauma, poetics, and the Armenian genocide; feminist kitsch and the recuperation of North America's "Great Lady painters"; Gertrude Stein and Jewish Social Science; the Reno Divorce Factory and the production of gender; Andy Razaf and Black Bolshevism. Collectively, the essays suggest that the relationship between the modern and the postmodern is not one of rupture, belatedness, dilution, or extremity, but of haunting.Modernism, Inc. looks at our ghosts, and at the unspeakable secrets of modernity from which they're derived.Contributors: Maria Damon, Walter Kalidjian, Walter Lew, Janet Lyon, William J. Maxwell, Cary Nelson, John Timberman Newcombe, David G. Nicholls, Thomas Pepper, Paula Rabinowitz, Daniel Rosenberg, Marlon Ross, Jani Scandura, Kathleen Stewart, Julia Walker.

Drawing on a variety of interdisciplinary debates in cultural studies and contemporary theory, Modernism, Inc. provides a new look at the relationship between modernism and postmodernism within the critical frame of twentieth-century American culture.Organized around the idea of "incorporation"--embodiment, repressed memory, and advanced capitalism--Modernism, Inc. covers a wide range of topics: Josephine Baker's "hot house style"; the president's penis in American political life; myth-making and the Hoover Dam; trauma, poetics, and the Armenian genocide; feminist kitsch and the recuperation of North America's "Great Lady painters"; Gertrude Stein and Jewish Social Science; the Reno Divorce Factory and the production of gender; Andy Razaf and Black Bolshevism. Collectively, the essays suggest that the relationship between the modern and the postmodern is not one of rupture, belatedness, dilution, or extremity, but of haunting.Modernism, Inc. looks at our ghosts, and at the unspeakable secrets of modernity from which they're derived.Contributors: Maria Damon, Walter Kalidjian, Walter Lew, Janet Lyon, William J. Maxwell, Cary Nelson, John Timberman Newcombe, David G. Nicholls, Thomas Pepper, Paula Rabinowitz, Daniel Rosenberg, Marlon Ross, Jani Scandura, Kathleen Stewart, Julia Walker.

One hundred years after the publication of his first major work, Ernest Hemingway remains an important author. His work addressed the search for meaning in the wake of a 'Great War' and amid the challenges of rapidly changing social conventions, and his prose style has influenced generations of journalists and writers. Hemingway was wounded on the battlefield and caught up throughout his life in conflicting desires. He was also a deeply committed artist, a restless experimenter with the elements of narrative form and prose style. This book's detailed discussions, informed both by close formal analysis and by contemporary critical frameworks, tease out the complexity with which Hemingway depicted disabled characters and romantic relationships in changing historical and cultural contexts. This introduction is especially useful for students and teachers in literary studies and modernism.