Forces in Modern and Postmodern Poetry examines the works of classic authors in the modern and postmodern literary tradition, including Stéphane Mallarmé, Wallace Stevens, Samuel Beckett, Gertrude Stein, Charles Olson, Paul Celan, Ezra Pound, William Carlos Williams, Louis Zukofsky, and John Ashbery, all from a comparative perspective. The concepts, modern and postmodern, are not used to provide definitive answers but to raise questions concerning the status of representation, issues of the self, and the use of imagery and musical invention. The wide range of the study is matched by the richly detailed analysis of specific poetic texts from an author noted for the scope and acuity of his attention to modern poetry in all its varied forms.

A poet’s œuvre is typically studied as an arc from the first work to the last work, including everything in between as a manifestation of some advance or reversal. What if the primary relationship in a poet’s œuvre is actually between the first and last text, with those two texts sharing a compelling private language? What if, read separately from the other work, the first and last books reveal some new phenomenon about both the struggles and the achievement of the poet? Drawing on phenomenological and intertextual theories from Ladislaus Boros, Julia Kristeva, Theodor Adorno, and Peter Galison, Poets’ First and Last Books in Dialogue examines the relevant texts of Robert Lowell, Elizabeth Bishop, Anne Sexton, Thom Gunn, Sylvia Plath, and Ted Hughes. In each of these poets’ first books, Thomas Simmons examines both the evidence of some new phenomenon and a limit or unsolved problem that finds its resolution only in a specific conversation with the final text. By placing the texts in dialogue, Simmons unveils a new internal language in the work of these groundbreaking poets. The character of this illumination expands in a coda on Robert Pinsky, whose career is particularly marked by what neurologist Antonio Damasio calls the moment of «stepping into the light.»

Robert Lowell and the Confessional Voice returns to the poet’s early works, such as Land of Unlikeness and Lord Weary’s Castle, in search of a relationship between Lowell’s early poetry and his turn to a confessional style of writing in the 1950s. Lowell’s early poetry is often overshadowed by the emergence of his confessional poetry (that develops in Life Studies; however, instead of Lowell’s early poetry being eclipsed by Life Studies, a remembrance of his early poetry is necessary as a way of understanding Lowell’s evolution as a poet. The early poetry provides readers and scholars of Lowell with a Puritan paradigm and the ethos of an American narrative that Lowell never fully abandons but only perpetually deconstructs.

Women’s mythic revision is a tradition at the heart of twentieth-century literature. Medea’s Chorus explores post-WWII women’s poetry that takes Greek mythology as its central topos. The book investigates five of the most influential poets writing in the twentieth century (H.D., Sylvia Plath, Adrienne Rich, Margaret Atwood, Eavan Boland) who challenge both the ancient literary representations of women and the high modernist appropriations of the classics. In their poetry and prose, the women engage with cultural discourses about literary authority, gender, oppression, violence, and age. Yet even while the poets rework certain aspects of the Greek myths that they find troubling, they see the inherent power in the stories and use that power for personal and social revelation. Because myths exist in multiple versions, ancient writers did not create from scratch; their artistic contribution lay in how they changed the stories. Modern female poets are engaging in a several millennia-old tradition of mythic revision, a tradition that has ruthlessly posited that there is no place for women in the creation and transmission of mythological poetry. Medea’s Chorus tracks mythic revision from the 1950s through the second-wave feminist movement and into turn-of-the-century feminism to highlight individual achievements and to show the collective effect of the poets’ highly varied works on post-WWII literature and feminist thought and practice. This engaging and beautifully written book is a must-read for any student, teacher, or scholar of the Classical Tradition, revisionist mythmaking, and twentieth-century poetry.

Monster: Distortion, Abstraction, and Originality in Contemporary American Poetry argues that memorable and resonant poetry often distorts form, image, concept, and notions of truth and metaphor. Discussing how changes in electronic communication and artificial notions of landscape have impacted form and content in poetry, Monster redefines the idea of what is memorable and original through a broad range of poets including John Ashbery, Anne Carson, Thomas Sayers Ellis, Forrest Gander, Peter Gizzi, Jorie Graham, Robert Hass, Brenda Hillman, Laura Kasischke, W. S. Merwin, Srikanth Reddy, Donald Revell, Mary Ruefle, Arthur Sze, and James Tate.

Forces in Modern and Postmodern Poetry examines the works of classic authors in the modern and postmodern literary tradition, including Stéphane Mallarmé, Wallace Stevens, Samuel Beckett, Gertrude Stein, Charles Olson, Paul Celan, Ezra Pound, William Carlos Williams, Louis Zukofsky, and John Ashbery, all from a comparative perspective. The concepts, modern and postmodern, are not used to provide definitive answers but to raise questions concerning the status of representation, issues of the self, and the use of imagery and musical invention. The wide range of the study is matched by the richly detailed analysis of specific poetic texts from an author noted for the scope and acuity of his attention to modern poetry in all its varied forms.

A poet’s œuvre is typically studied as an arc from the first work to the last work, including everything in between as a manifestation of some advance or reversal. What if the primary relationship in a poet’s œuvre is actually between the first and last text, with those two texts sharing a compelling private language? What if, read separately from the other work, the first and last books reveal some new phenomenon about both the struggles and the achievement of the poet? Drawing on phenomenological and intertextual theories from Ladislaus Boros, Julia Kristeva, Theodor Adorno, and Peter Galison, Poets’ First and Last Books in Dialogue examines the relevant texts of Robert Lowell, Elizabeth Bishop, Anne Sexton, Thom Gunn, Sylvia Plath, and Ted Hughes. In each of these poets’ first books, Thomas Simmons examines both the evidence of some new phenomenon and a limit or unsolved problem that finds its resolution only in a specific conversation with the final text. By placing the texts in dialogue, Simmons unveils a new internal language in the work of these groundbreaking poets. The character of this illumination expands in a coda on Robert Pinsky, whose career is particularly marked by what neurologist Antonio Damasio calls the moment of «stepping into the light.»

Robert Lowell and the Confessional Voice returns to the poet’s early works, such as Land of Unlikeness and Lord Weary’s Castle, in search of a relationship between Lowell’s early poetry and his turn to a confessional style of writing in the 1950s. Lowell’s early poetry is often overshadowed by the emergence of his confessional poetry (that develops in Life Studies; however, instead of Lowell’s early poetry being eclipsed by Life Studies, a remembrance of his early poetry is necessary as a way of understanding Lowell’s evolution as a poet. The early poetry provides readers and scholars of Lowell with a Puritan paradigm and the ethos of an American narrative that Lowell never fully abandons but only perpetually deconstructs.

Women’s mythic revision is a tradition at the heart of twentieth-century literature. Medea’s Chorus explores post-WWII women’s poetry that takes Greek mythology as its central topos. The book investigates five of the most influential poets writing in the twentieth century (H.D., Sylvia Plath, Adrienne Rich, Margaret Atwood, Eavan Boland) who challenge both the ancient literary representations of women and the high modernist appropriations of the classics. In their poetry and prose, the women engage with cultural discourses about literary authority, gender, oppression, violence, and age. Yet even while the poets rework certain aspects of the Greek myths that they find troubling, they see the inherent power in the stories and use that power for personal and social revelation. Because myths exist in multiple versions, ancient writers did not create from scratch; their artistic contribution lay in how they changed the stories. Modern female poets are engaging in a several millennia-old tradition of mythic revision, a tradition that has ruthlessly posited that there is no place for women in the creation and transmission of mythological poetry. Medea’s Chorus tracks mythic revision from the 1950s through the second-wave feminist movement and into turn-of-the-century feminism to highlight individual achievements and to show the collective effect of the poets’ highly varied works on post-WWII literature and feminist thought and practice. This engaging and beautifully written book is a must-read for any student, teacher, or scholar of the Classical Tradition, revisionist mythmaking, and twentieth-century poetry.

Monster: Distortion, Abstraction, and Originality in Contemporary American Poetry argues that memorable and resonant poetry often distorts form, image, concept, and notions of truth and metaphor. Discussing how changes in electronic communication and artificial notions of landscape have impacted form and content in poetry, Monster redefines the idea of what is memorable and original through a broad range of poets including John Ashbery, Anne Carson, Thomas Sayers Ellis, Forrest Gander, Peter Gizzi, Jorie Graham, Robert Hass, Brenda Hillman, Laura Kasischke, W. S. Merwin, Srikanth Reddy, Donald Revell, Mary Ruefle, Arthur Sze, and James Tate.