American modernist poetry and the new

I have been one acquainted with the night. I have walked out in rain—and back in rain. I have outwalked the furthest city light. I have looked down the saddest city lane.

American modernist poetry and the new

Alfred Prufrock ," by T. Eliot English novelist Virginia Woolf declared that human nature underwent a fundamental change "on or about December Artists from all over the world converged on London, Paris, and other great cities of Europe to join in the ferment of new ideas and movements: Cubism, Constructivism, FuturismAcmeismand Imagism were among the most influential banners under which the new artists grouped themselves.

It was an era when major artists were fundamentally questioning and reinventing their art forms: The excitement, however, came to a terrible climax in with the start of the First World War, which wiped out a generation of young men in Europe, catapulted Russia into a catastrophic revolution, and sowed the seeds for even worse conflagrations in the decades to follow.

For artists and many others in Europe, it was a time of profound disillusion with the values on which a whole civilization had been founded. But it was also a time when the avante-garde experiments that had preceded the war would, like the technological wonders of the airplane and the atom, inexorably establish a new dispensation, which we call modernism.

Among the most instrumental of all artists in effecting this change were a handful of American poets. Ezra Poundthe most aggressively modern of these poets, made "Make it new!

In London Pound encountered and encouraged his fellow expatriate Eliot, who wrote what is arguably the most famous poem of the twentieth century—" The Waste Land "—using revolutionary techniques of composition, such as the collage.

Both poets turned to untraditional sources for inspiration: Pound to classical Chinese poetry and Eliot to the ironic poems of the 19th century French symbolist poet Jules Laforgue.

Among the American poets who stayed at home, Wallace Stevens —a mild-mannered executive at a major insurance firm in Hartford, Connecticut—had a flair for the flashiest titles that poems have ever had: What was new in E.

Cummings was right on the surface, where all the words were in lowercase letters and a parenthesis " a leaf falls " may separate the "l" from "oneliness.

Unlike Williams, Robert Frost favored traditional devices—blank verse, rhyme, narrative, the sonnet form—but he, too, had a genius for the American vernacular, and his pitiless depiction of a cruel natural universe marks him as a peculiarly modern figure who is sometimes misread as a genial Yankee sage.

Of the many modern poets who acted on the ambition to write a long poem capable of encompassing an entire era, Hart Crane was one of the more notably successful.

In his poem "The Bridge," the Brooklyn Bridge is both a symbol of the new world and a metaphor allowing the poet to cross into different periods, where he may shake hands in the past with Walt Whitman and watch as the train called the Twentieth Century races into the future.Poetry in America is a TV series and educational initiative that brings poetry into classrooms and living rooms around the world.

Created by Elisa New, Poetry in America draws students of all ages into conversations about poetry.

American modernist poetry and the new

William Carlos Williams was a revolutionary figure in American modernist poetry. He was unique in his efforts to expand the realm of poetry through new uses of syntax and imagery.

American modernist poetry and the new

poet whose works played a key role in the literary transition from 19th-century Romantic poetry to . Modernist poetry in English started in the early years of the 20th century with the appearance of the Imagists.

In common with many other modernists, these poets wrote in reaction to the perceived excesses of Victorian poetry, with its emphasis on traditional formalism and ornate diction. Note that the English novelist Virginia Woolf proclaimed that, “human nature underwent a fundamental change ‘on or about December ’" [From the Academy of American Poets “The Modernist Revolution: Make It New”].

Her claim was in reaction to the transformative post-Impressionist exhibit curated by critic Robert Fry, which featured artists such as Gaugin, Cézanne, and Van Gogh. In Modernist literature, it was the poets who took fullest advantage of the new spirit of the times, and stretched the possibilities of their craft to lengths not previously imagined.

In general, there was a disdain for most of the literary production of the last century. These were published in book form along with other examples of Morton's American poetry in "New English Canaan" (); and based on the criteria of "First," "American" and Poetry," they make Morton (and not Anne Bradstreet) America's first poet in English.

The modernist torch was carried in the s mainly by the group of poets known as.

The Best Poems of Modernism