Modern Poetry – serie

James Tate is one of America’s most respected and senior poets, whose influence is increasingly widespread. However, his whimsical play has long challenged critics to read him with any depth. After winning the Yale Prize in 1967 for his first book, The Lost Pilot, published when he was just twenty-three, Tate has since gone on to win major literary awards including the Pulitzer Prize, the National Book Award, and the Tanning Prize for Lifetime Achievement from the Academy of American Poets.This is the first monograph dedicated to Tate’s œuvre. The author provides a practical reading theory for Tate, complete with contextual frameworks. Close readings of Tate’s work are informed by the purposeful purposelessness of Kant, the surrealist debt to Breton, and the problems and pleasures of language as explored by Derrida. Tate’s great achievement is no less than a reconfiguring of the modern American lyric as a poetry of dramatic and dialogic narrative. Composed out of ‘odds and ends ... of no great moment’, as the poet himself writes, Tate’s work extends the varied American traditions of writers such as William Carlos Williams, Wallace Stevens, John Berryman, and John Ashbery.

Geoffrey Hill is one of the most significant poets currently at work in the English language. The essays gathered in this book present a number of new contexts in which to explore a wide range of his writings, from the poems he wrote as an undergraduate to the recent volumes A Treatise of Civil Power (2007) and Collected Critical Writings (2008). Connections are made between the early and the later poetry, and between the poetry and the criticism, and archival materials are considered along with the published texts. The essays also make comparisons across disciplines, discussing Hill’s work in relation to theology, philosophy and intellectual history, to literature from other languages, and to the other arts. In doing so, they cast fresh light upon Hill’s dense, original and sometimes challenging writings, opening them up in new ways for all readers of his work.

This volume brings together sixteen essays on British, Irish and American poets from the late nineteenth century to the present day. It offers a series of entertaining and compelling readings of the lives and works of Gerard Manley Hopkins, W.B. Yeats, Edward Thomas, T.S. Eliot, Hart Crane, Elizabeth Bishop, James Schuyler, Allen Ginsberg, John Ashbery, Ted Hughes and Paul Muldoon among others.Arranged chronologically, the essays present a wide-ranging and sophisticated narrative that takes the reader from the first stirrings of modernism through to the dynamic experiments of the present day. A number of essays attend to particular artistic alignments. One explores the relationship between Wallace Stevens and the unjustly neglected English poet Nicholas Moore, another the close friendship between James Schuyler and the painter Fairfield Porter, while a third contends that the lyrics, music and career of Bob Dylan unwittingly illustrate many of the key tenets of the great nineteenth-century essayist Ralph Waldo Emerson.

The similarities and differences between poetry and worship have intrigued writers since at least the nineteenth century, when John Keble declared that poetic symbols could almost partake of the nature of sacraments. Since then poets, philosophers and literary critics alike have evoked the terms ‘sacrament’ and ‘incarnation’ to make claims about art and poetry. Extending and challenging this critical tradition, this book explores the influence of sacramental belief on the works of three Roman Catholic poets: the nineteenth-century Jesuit priest Gerard Manley Hopkins, the Anglo-Welsh artist David Jones and the Australian poet Les Murray. The author explores the idea that the incarnation and the sacraments embody both God’s immanence and God’s transcendence and argues that Hopkins, Jones and Murray all endeavour to enclose the ‘open mystery’ of the Divine while recognizing that it cannot be imprisoned. The volume sets their writings in conversation with each other’s, as well as with literary, philosophical and theological discourse. The result is a study that shows the wonders, the mysteries and the difficulties of the sacramental worldview and its central place in the writings of these three major Catholic poets.

This volume is a critical introduction to the poetry of Irish writer Nuala Ní Dhomhnaill. Writing poetry exclusively in Irish but allowing and overseeing translations of her work into several languages, primarily English, Ní Dhomhnaill is the first Irish-language poet to gain an international following. She is also a pioneer in fostering a renewed relationship between the two languages of Ireland’s literary traditions. Ní Dhomhnaill is unflinching in her interventions into problematic social, linguistic and even theoretical arenas, and is well known for her brutal parodies, ribald sexual scenarios and persistent debunking and revising of religious, political and mythological imagery. Her primary thematic concerns demonstrate her dedication to critiquing and ultimately changing dominant discourses so that they account for the presence and contributions of women writers. This volume explores the fraught issues of translating and contextualizing Ní Dhomhnaill’s œuvre, her use and revisions of Irish myth, folklore and political and religious iconography, her re-imagining of the mother in culture and religious ideology, and the devices of death, silence and psychoanalytic discourse in her mermaid cycle and other poems. The book hails Ní Dhomhnaill, who has not hitherto received a great deal of critical attention in English, as a major figure in world literature.

Geoffrey Hill (1932–2016) was often hailed as one of the most important – and one of the most difficult – poets of his lifetime. This book is a timely investigation into a writer whose work seems simultaneously to invite analysis and to refuse explanations of its sensuous, allusive language. It provides an introduction to Hill’s work for readers coming to it for the first time and offers an account of his poetics that will be of interest to his more experienced readers. Alongside many close readings of poems spanning Hill’s long and varied career, the author brings to light findings from the Geoffrey Hill Archive in Leeds and investigates the poet’s important critical writings. Hill’s often antagonistic engagement with the thought of other poets and philosophers supplies the book’s structure. Coleridge, Eliot, F. H. Bradley and Ezra Pound are engaged by Hill in a dramatic contest over what the author claims is his visionary aim for poetry: the realisation of the objective conditions of judgement. Above all, Hill is presented as a quintessentially modernist poet – at odds with modernity, and at the same time creating a language answerable to its rich, traumatic complexity.

Voices and Visions: Interviews with the Contemporary English-Language Poets of Wales captures the perspectives of key Anglophone Welsh and Wales-associated poets who have emerged in the wake of devolution and Wales’s 1997 «yes» vote – or whose career profiles and development were consolidated in its wake. The post-1997 era has been a dynamic one – notably characterised by a striking gender shift, in which women are now at the very centre of Anglophone Welsh poetics. It has also been a period in which a number of idiosyncratic younger voices have emerged and established themselves both within Wales and further afield. Compelling and candid, these interviews examine poets’ practice and preoccupations, their native and elective poetic identities, their personal insights into a changing Wales, the prevailing conditions which may have enabled them, and their place within the wider firmament of British poetics. Voices and Visions: Interviews with the Contemporary English-Language Poets of Wales is a fascinating record of play, seriousness, ambition, and local and international interests from the point of view of some of Wales’s most significant contemporary poets. Poets included: Zoë Brigley, Sarah Corbett, Jasmine Donahaye, Jonathan Edwards, Dai George, Ian Gregson, Philip Gross, Meirion Jordan, Patrick McGuinness, Pascale Petit, Deryn Rees-Jones, Gwyneth Lewis, Rhian Edwards, Zoë Skoulding, and Tiffany Atkinson.

The September 1997 vote approving devolution, albeit by a tiny margin, was a watershed moment in recent Welsh history. This volume of essays considers the English-language poetic life of Wales since that point. Addressing a range of poets who are associated with Wales by either birth or residence and have been significantly active in the post-1997 period, it seeks to understand the various ways in which Wales’s Anglophone poetic life has been intertwined both with devolutionary matters specifically and the life of contemporary Wales more generally, as well as providing detailed scrutiny of work by key figures. The purpose of the book is thus to offer insights into how English-language poetry and contemporary Wales intersect, exploring the contours of a diverse and vibrant poetic life that is being produced at a time of important cultural and political developments within Wales as a whole.

Drawing on the proceedings of two conferences organized to celebrate the centenary of John Berryman’s birth in 2014, John Berryman: Centenary Essays provides new perspectives on a major US American poet’s work by critics from Ireland, the United Kingdom, Canada and the United States. In addition to new readings of important aspects of Berryman’s development – including his creative and scholarly encounters with Shakespeare, Milton, Wordsworth and W. B. Yeats – the book gives fresh accounts of his engagements with contemporaries such as Delmore Schwartz and Randall Jarrell. It also includes essays that explore Berryman’s poetic responses to Mozart and his influence on the contemporary Irish poet Paul Muldoon. Making extensive use of unpublished archival sources, personal reflections by friends and former students of the poet are accompanied by meditations on Berryman’s importance for writers today by award-winning poets Paula Meehan and Henri Cole. Encompassing a wide range of scholarly perspectives and introducing several emerging voices in the field of Berryman studies, this volume affirms a major poet’s significance and points to new directions for critical study and creative engagement with his work.

This book considers the development of the lyric form in recent American poetry of the past three decades. By concentrating on the writing of three poets associated with language writing, Charles Bernstein, Michael Palmer and Lyn Hejinian, the discussion considers the attempts of contemporary poetry to problematise the identification of the lyric as a static model of subjectivity. Central considerations motivating the discussion are: How do contemporary lyric poets negotiate the propositions posed by postmodern thought? What reading of lyricism can one formulate once the self is displaced from centre stage and an ‘experience’ of language takes its place? The book proposes that an aesthetic of error enables us to approach the reconfiguration of the lyric in recent innovative poetry. Drawing from elements of modernist poetic practice, psychoanalytic theory, language philosophy and critical theory this book pursues methods for understanding the demands placed upon the reader of contemporary poetry.