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Ian Hamilton (editor) - The Oxford companion to twentieth-century poetry in English

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The first and only comprehensive work of its kind, The Companion to Twentieth Century Poetry in English charts the development of poetry from 1900 to the present, across the whole of the English-speaking world, from the United States, Great Britain, and Ireland to New Zealand, Pakistan, Singapore, Trinidad and Zimbabwe--anywhere where poets write in English. Alphabetically arranged for ease of reference, it offers biographical entries on some 1,500 individual poets, as well as over one hundred entries covering important magazines, movements, literary terms and concepts. As readable as it is comprehensive, the Companion offers 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 this Companion is 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 this Companions many 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 English is an essential reference for students, lovers of poetry, and for poets themselves.

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title The Oxford Companion to Twentieth-century Poetry in English - photo 1

title:The Oxford Companion to Twentieth-century Poetry in English
author:Hamilton, Ian
publisher:Oxford University Press
isbn10 | asin:0198661479
print isbn13:9780198661474
ebook isbn13:9780585261690
language:English
subjectEnglish poetry--20th century--Dictionaries, Poets, Commonwealth--20th century--Biography--Dictionaries, Poets, American--20th century--Biography--Dictionaries, Poets, English--20th century--Biography--Dictionaries, Commonwealth poetry (English)--Dictionar
publication date:1994
lcc:PR601.O9 1994eb
ddc:821/.9109/03
subject:English poetry--20th century--Dictionaries, Poets, Commonwealth--20th century--Biography--Dictionaries, Poets, American--20th century--Biography--Dictionaries, Poets, English--20th century--Biography--Dictionaries, Commonwealth poetry (English)--Dictionar
Page iii
The Oxford Companion To Twentieth-century Poetry in English
Edited by Ian Hamilton
Page iv Oxford University Press Walton Street Oxford OX2 6DP Oxford - photo 2
Page iv
Oxford University Press, Walton Street, Oxford OX2 6DP
Oxford New York
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Oxford is a trade mark of Oxford University Press
Published in the United States
by Oxford University Press Inc., New York
Introduction Ian Hamilton 1994
Text Oxford University Press 1994
First published 1994
Reprinted (with corrections) 1994
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. Within the UK, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms and in other countries should be sent to the Rights Department, Oxford University Press, at the address above
British Library Cataloguing in Publication Data
Data available
Library of Congress Cataloging in Publication Data
The Oxford companion to twentieth-century poetry in English/edited
by Ian Hamilton
1. English poetry20th centuryDictionaries. 2. Poets,
Commonwealth20th centuryBiographyDictionaries. 3. Poets,
American20th centuryBiographyDictionaries. 4. Poets,
English20th centuryBiographyDictionaries. 5. Commonwealth
poetry(English)Dictionaries. 6. American poetry20th century
Dictionaries. I. Hamilton, Ian, 1938
PR601.09 1994
821'.9109'03dc20 931436
ISBN 0-19-866147-9
Printed in Great Britain on acid-free paper by The Bath Press, Bath, Avon
Page v
Introduction
This Companion is offered both as a reference work and as a history, a map of modern poetry in English. It may be thought that the territory has already been well mapped, in anthologies and textbooks, but I can think of no other single-volume publication that runs from 1900 to the present day and covers topics, movements, magazines, and genres as well as individual poets, dead and alive.
Over the five years that I have worked on the Companion I have more than once paused to remind myself how speedily such maps can change, how fashions rise and dive. Imagine a similar compilation put together in, say, 1950. Dylan Thomas would have had more space than he gets here, and so too would Nicholas Moore, Karl Shapiro, Sidney Keyes, and other big-name figures of that time. Surrealism would have bulked larger, and there would have been a more tender deference to periodicals like Poetry Quarterly and Poetry London. The precise contours would of course have depended on who had done the mapping, but the general shape would surely have reflected the epoch's taste for the florid and religiose, its lack of any real interest in technique, its suspicion that the political poets of the 1930s had somewhat let the side down, and so on.
Ten years later, the map would have changed again, with Auden and Empson restored to favour. We would note a new respect for the output of the American academies and for those writers of the 1940s who had kept their wits about them and not turned to God, or Jung. Overall, there would have been more braininess than ecstasy, more common sense than communal subconscious. In covering these bygone decades, I have tried to keep in mind some notion of how things must have seemed then, and to balance this against what I take to be history's subsequent or current valuation. At the same time, I have been wary of the passage-of-time school of literary judgement. It isn't true that if it's good, it will survive; someone, somewhere has to keep saying that it's goodor if not good, exactly, then at least worthy of a small piece of the historical jigsaw, the map. There are poets discussed in this Companion who would probably not get into any up-to-date anthology of modern verse. Their inclusion, though, should not be viewed as merely archivistic. Who knows how things will look in ten years' time?
Perhaps the first thing to be confessed of this 1994 Companion is that it comes from England (or Britain: England, in this introduction, should be taken to mean the United Kingdom as a whole). Forty years ago this would not have seemed like much of a confession; after all, the book is meant to be about poetry in English,
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