Download Aberration in Modern Poetry. Essays on Atypical Works by by Lucy Collins PDF

By Lucy Collins

This serious paintings considers the function performed via parts that may be thought of aberrational in a poet's oeuvre. With an introductory essay exploring the character of aberration, those fourteen contributions examine the paintings of significant 20th-century poets from the united states, Britain, eire, Australia and New Zealand. Aberration is taken into account from the point of view of either the artist and the viewers, prompting dialogue on a variety of vital matters, together with the formation of the canon. each one essay discusses the prestige of the aberrant paintings and the ways that it demanding situations, enlarges or helps the general conception of the poet.

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Additional resources for Aberration in Modern Poetry. Essays on Atypical Works by Yeats, Auden, Moore, Heaney and Others

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Willis, Patricia C. 1 (Spring 1987): 10–12. Wilson, Elizabeth. ’” Leavell, Miller, and Schulze. 192–207. W. H. Auden’s Detours STEPHEN MATTERSON The journey, the quest, and the act of wandering occur so frequently over forty years of Auden’s poetry that evagation becomes analogous to the act of writing a poem. ” he asked, but the rhetorical question masks the fact that his landscapes were never the same landscape, and often represented the climax of a journey whose conclusion was not planned or prefigured (Collected 127).

New York: Atheneum, 1990. Moore, Marianne. A Marianne Moore Reader. New York: Viking, 1961. _____. A-Quiver with Significance: Marianne Moore 1932 –36. Ed. Heather Cass White. Victoria, BC: ELS Editions, 2008. _____. Becoming Marianne Moore: The Early Poems, 1907–1924. Ed. Robin G. Schulze. Berkeley: University of California Press, 2003. _____. Complete Poems. New York: Macmillan and Viking: 1967; second edition, 1981. _____. The Complete Prose of Marianne Moore. Ed. Patricia C. Willis. New York: Viking, 1986.

12 Moore’s multiple poetry, correspondence, conversation, reading notebooks and scrapbooks remain unpublished and although these sources have been cited for decades there is to date no study of these extraordinary compilations as such in relation to her aesthetic or her career. 13 More than any other single factor, however, it is Moore’s own radical cutting of her oeuvre that creates confusion in understanding the young poet who so impressed her contemporaries with her brilliance between 1916 and 1924.

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