The Oxford Companion to Twentieth-Century Poetry in English
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As readable as it is comprehensive, theCompanionoffers a fascinating survey of this centurys shift from poetry to poetries, as American and British traditions of poetry have made way for a growing diversity of voices, and as the burgeoning poetries of Australia, Canada, and other English-speaking countries assert their own identities. The range of poets represented in thisCompanionis extraordinary. Here are in-depth discussions of Yeats, Eliot, Pound, and Joyce alongside provocative assessments of W.H. Auden, Elizabeth Bishop, Wallace Stevens, and Marianne Moore. John Ashbery, Margaret Atwood, Maya Angelou, and Mary Oliver are accounted for, as well as Carolyn Forch, David Bottoms, Jorie Graham, and many other younger poets just coming into prominence. Chinua Achebee, Jack Mapanje, Femi Oyebode and other important African poets writing in English are here, as well as poets from the Caribbean, India, and even Russia.
Readers will relish thisCompanionsmany insightful contributions from celebrated poet-critics, writing on other poets in intriguing author-subject combinations. For example, Seamus Heaney writes on Robert Lowell (Lowell had invented a way of getting at life, of making poetry kick and freak at the edge of contemporary reality), Ann Stevenson discusses Sylvia Plath (In the quarter-century following her suicide, Sylvia Plath has become a heroine and martyr of the feminist movement. In fact, she was a martyr mainly to the recurrent psychodrama that staged itself within the bell jar of her tragically wounded personality), and Tom Paulin weighs in on Ted Hughes (His appointment as Poet Laureate in 1984 sealed his essentially shaman-like conception of his poetic mission and enabled him to speak out on environmental issues while celebrating royal weddings and babies). Other pairings include Jay Parini on Wallace Stevens, Jon Stallworthy on Wilfred Owen and Rupert Brook, and William H. Pritchard on Robert Frost and Randall Jarrell. Each entry includes a wealth of biographical and bibliographical information, and a select bibliography at the end of the book supplies a handy source of information on poets whose work is not otherwise in print, or readily available to readers.
From Abse and Auden to Zaturenska and Zukofsky,The Oxford Companion to Twentieth-Century Poetry in Englishis an essential reference for students, lovers of poetry, and for poets themselves.
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EN Oxford University Press Oxford University Press
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Oxford University Press 2000, 2003
Published by Oxford University Press, Great Clarendon Street, Oxford OX2 6DP
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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organisation. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department Oxford University Press.
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was born just outside Manchester, at Ashton upon Mersey; he was educated at Malvern College and at Victoria (later Manchester) University. He worked as a journalist for several years but at the age of 38 became a lecturer at the University of Liverpool; subsequently, he was professor of English at Leeds (from 1922) and Goldsmith's Reader in English at Oxford (from 1935).
In an essay entitled The Function of Poetry in the Drama (1912), Abercrombie sought to redefine the possibilities of verse drama, but his own attempts at the genre are unhappily innocent of stagecraft. A clue to his more fruitful development as a poet is provided by the publication, also in 1912, of his study of Thomas , who included eight pages of Abercrombie's work in the Oxford Book of Modern Verse (1936).
Though his poetry lacks the distinction of a major talent, it is enjoyable, capably written, and now unjustly neglected. It was collected as The Poems of Lascelles Abercrombie (London, 1930), and a supplementary volume, Lyrics and Unfinished Poems , appeared in 1940, two years after the author's death.
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has a Jewish background, is Welsh, and a doctor: biographical facts which feature in his poems. Abse has an immediately likeable poetic voice, compassionate, humorous, observant. But the poems are not content with likeableness, nor are they satisfied with the merely personal. Return to Cardiff , one of his better-known pieces, describes Abse's feelings on revisiting his native city: loss, brief retrievals of the past, a sense of identity's oddness. The writing is conversational; it is also sharp and intelligent. Its rhythms win an unpredictable music from the musing hesitations of Abse's speaking voice.
Return to Cardiff was included in his 1962 book, Poems , Golders Green . Abse had by then sloughed off an initial weakness for rhetoric. Subsequent volumes blend a keen appetite for the everyday with an appalled, unmelodramatic awareness of suffering. A Night Out revolves round watching a film about Auschwitz. Troubled, resilient, and anchored in the particular, the poem shows Abse's honesty to advantage. Hunt the Thimble illustrates his interest in the riddle or parable; the repeated questions and answers mimic a child's game but generate a potently obscure menace. These two poems were included in A Small Desperation (London, 1968); as the self-deprecating title suggests, Abse's imagination finds suburbia frustrating yet stimulating territory.
Some of Abse's tonally surest work occurs in his most recent volumes, Way Out in the Centre (London, 1981; in the US as One-Legged on Ice , Athens, Ga., 1983) and Ask the Bloody Horse (London, 1986; in the US, as Sky in Narrow Streets , Princeton, NJ, 1987). Both his alertness to the strangeness at the heart of familiarity and his wry grappling with the numinous (especially evident in Ask the Bloody Horse ) find supple expression here. The most convenient single volume of Abse's poetry is White Coat, Purple Coat: Collected Poems 19481988 (London, 1989; New York, 1990). A Strong Dose of Myself (London, 1983) contains essays about poets and poetry. Critical studies of his work include Joseph Cohen (ed.), The Poetry of Dannie Abse: Critical Essays and Reminiscences (London, 1983) and Tony Curtis, Dannie Abse (Cardiff, 1985).
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is one of the foremost literary figures in Africa. He was born in Ogidi, in rural Eastern Nigeria, where, alongside his family's Christianity, he absorbed the still-vigorous traditions of his Igbo people. He was educated at Government College, Umuahia, and University College, Ibadan, and after working for a time as a teacher, joined the Nigerian Broadcasting Company in Lagos. Things Fall Apart was the first of four major novels published between 1958 and 1966. In 1969, during the Civil War, Achebe toured the United States with fellow writers to promote the Biafran cause. He turned to different forms of writing: essays, short stories, and poems. After the war he became professor of literature at Nsukka and editor of the journal Okike . A long-awaited fifth novel, Anthills of the Savannah , appeared in 1987. In 1990 he was severely paralysed in a road accident.
Lucidity and self-possession characterize Achebe's poems as they do his prose. His Igbo conviction that nothing is absolute imparts a wry detachment to his philosophizing. While Beware Soul Brother blends Christian spirituality and Igbo communalism, other poems satirize both religions. Lament of the Sacred Python shows cannibal Christians blasphemously dining on the divine snake, while Those Gods are Children exposes Igbo prudence in sacrificing only the smallest yams to the ancestors. His most moving poems focus on wry or poignant real-life incidents: the struggle of a mango seedling to root itself on a concrete roof, the deadpan stare of a starving child confronted by a rose-cheeked baby in a Christmas crib-scene.
Achebe's poems are collected in Beware Soul Brother (Enugu and London, 1972; in the US, Christmas in Biafra and Other Poems , New York, 1973).
See also Chinua Achebe: Novelist, Poet, Critic , by (2nd edn., London, 1990)
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was born in Illinois, and received her doctorate from Cornell University; she writes regularly for The New Yorker . Eclectic, witty, and impetuous, her poetry collects its vocabulary from Hollywood and Donne, NASA and Einstein's letters, and Egyptian hieroglyphs. Reverse Thunder (New Brunswick, NJ, 1988) continues to celebrate the visionary appetites expressed in Wife of Light (New York, 1978) and the visceral imaginings of The Planets (New York, 1976).
Ackerman cultivates the combination of opposites. In her poems, the most abstract concepts are hitched to the plumpest, most redolent images: An event is such a little piece of time-and-space | you can mail it through the slotted eye of a cat. God hidden in his universe becomes a soft-shelled crab, and Venus in her atmosphere a buxom floozy with a pink boa; | mummy, whose black | sediment dessicates within. Conversely, her poems of love securely lodged in the body tend to ally themselves with moon and ghost, things bloodless, luminous, atmospheric: the popsongs, | the gone-sours, | the setbacks, the blights, | the cartwheel heart | where love careens, | all the little dismals | and the giant dreams.
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