"A Wrong Turning in American Poetry" is an essay by United States poet Robert Bly which was first published in Choice magazine in 1963[1] and collected in American Poetry: Wildness and Domesticity.[2] It has subsequently been anthologized in Twentieth-Century American Poetics.[3] In the essay, Bly found all Modern and contemporary American verse (up until he was writing his essay in 1963) to be lacking in spirituality and what he termed "inwardness." He also argued that the vast majority of American poets were cut off from the unconscious mind, that their verse was prosaic and lacked "imagination," and that they viewed the world in materialistic, strictly intellectual, and overly objective, "impersonal" terms.
Bly criticized Eliot's idea of the objective correlative as emblematic of everything wrong with the Modernist approach to poetry. He wrote that these poets "have more trust in the objective, outer world than in the inner world" and that this made their poetry essentially soulless. He contrasted the Modernists' "scientific" approach with the poetry and ideas of European poets like Federico García Lorca and Rainer Maria Rilke. Bly believed that "Eliot and Pound conceive maturity [in a poet] as a growth of outwardness" which Bly believes is dehumanizing. In sharp contrast, he noted that Rainer Maria Rilke advised that a poet should focus on their inner lives and always strive to "go into yourself," and this was the aesthetic path that Bly insisted was the only path that poets could take in order to write worthwhile poetry.
Some of the great, European and South American poets who Bly believed followed this path in their writing and were the models that American poets should be imitating (instead of the Modernists) included Pablo Neruda, Stéphane Mallarmé, César Vallejo, Juan Ramón Jiménez, Antonio Machado, Lorca, and Rilke.
Some of the scholarly and stylistic approaches to poetry that he criticized over the course of his essay included The New Criticism, the Metaphysical Poets, Imagism, and Objectivism, all of which he viewed as superficial, overly outward looking, and materialistic.
Free verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent meter patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech.
Thomas Stearns Eliot was a poet, essayist, publisher, playwright, literary critic and editor. Considered one of the 20th century's major poets, he is a central figure in English-language Modernist poetry. Through his trials in language, writing style, and verse structure, he reinvigorated English poetry. He also dismantled outdated beliefs and established fresh ones through a collection of critical essays.
William Carlos Williams was an American poet, writer, and physician closely associated with modernism and imagism.
Imagism was a movement in early-20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. It is considered to be the first organized modernist literary movement in the English language. Imagism is sometimes viewed as "a succession of creative moments" rather than a continuous or sustained period of development. The French academic René Taupin remarked that "it is more accurate to consider Imagism not as a doctrine, nor even as a poetic school, but as the association of a few poets who were for a certain time in agreement on a small number of important principles".
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. In many respects, their criticism echoes what William Wordsworth wrote in Preface to Lyrical Ballads to instigate the Romantic movement in British poetry over a century earlier, criticising the gauche and pompous school which then pervaded, and seeking to bring poetry to the layman.
Robert Elwood Bly was an American poet, essayist, activist and leader of the mythopoetic men's movement. His best-known prose book is Iron John: A Book About Men (1990), which spent 62 weeks on The New York Times Best Seller list, and is a key text of the mythopoetic men's movement. He won the 1968 National Book Award for Poetry for his book The Light Around the Body.
"The Love Song of J. Alfred Prufrock", commonly known as "Prufrock", is the first professionally published poem by American-born British poet T. S. Eliot (1888–1965). Eliot began writing "Prufrock" in February 1910, and it was first published in the June 1915 issue of Poetry: A Magazine of Verse at the instigation of Ezra Pound (1885–1972). It was later printed as part of a twelve-poem pamphlet titled Prufrock and Other Observations in 1917. At the time of its publication, Prufrock was considered outlandish, but is now seen as heralding a paradigmatic cultural shift from late 19th-century Romantic verse and Georgian lyrics to Modernism.
Louis Zukofsky was an American poet. He was the primary instigator and theorist of the so-called "Objectivist" poets, a short lived collective of poets who after several decades of obscurity would reemerge around 1960 and become a significant influence on subsequent generations of poets in America and abroad.
The Objectivist poets were a loose-knit group of second-generation Modernists who emerged in the 1930s. They were mainly American and were influenced by, among others, Ezra Pound and William Carlos Williams. The basic tenets of objectivist poetics as defined by Louis Zukofsky were to treat the poem as an object, and to emphasize sincerity, intelligence, and the poet's ability to look clearly at the world. While the name of the group is similar to Ayn Rand's school of philosophy, the two movements are not affiliated.
American poetry refers to the poetry of the United States. It arose first as efforts by American colonists to add their voices to English poetry in the 17th century, well before the constitutional unification of the Thirteen Colonies. Most of the early colonists' work was similar to contemporary English models of poetic form, diction, and theme. However, in the 19th century, an American idiom began to emerge. By the later part of that century, poets like Walt Whitman were winning an enthusiastic audience abroad and had joined the English-language avant-garde.
Harold Hart Crane was an American poet. Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot's work. In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike, as being one of the most influential poets of his generation.
"Gerontion" is a poem by T. S. Eliot that was first published in 1920 in Ara Vos Prec and Poems. The title is Greek for "little old man," and the poem is a dramatic monologue relating the opinions and impressions of an elderly man, which describes Europe after World War I through the eyes of a man who has lived most of his life in the 19th century. Two years after it was published, Eliot considered including the poem as a preface to The Waste Land, but was talked out of this by Ezra Pound. Along with "The Love Song of J. Alfred Prufrock" and The Waste Land, and other works published by Eliot in the early part of his career, '"Gerontion" discusses themes of religion, sexuality, and other general topics of modernist poetry.
Modernist poetry refers to poetry written between 1890 and 1950 in the tradition of modernist literature, but the dates of the term depend upon a number of factors, including the nation of origin, the particular school in question, and the biases of the critic setting the dates. The critic/poet C. H. Sisson observed in his essay Poetry and Sincerity that "Modernity has been going on for a long time. Not within living memory has there ever been a day when young writers were not coming up, in a threat of iconoclasm."
Others: A Magazine of the New Verse was an American literary magazine founded by Alfred Kreymborg in July 1915 with financing from Walter Conrad Arensberg. The magazine ran until July, 1919. It was based in New York City and published poetry and other writing, as well as visual art. While the magazine never had more than 300 subscribers, it helped launch the careers of several important American modernist poets. Contributors included: William Carlos Williams, Orrick Johns, Wallace Stevens, Marianne Moore, Mina Loy, Ezra Pound, Conrad Aiken, Carl Sandburg, T. S. Eliot, Amy Lowell, H.D., Djuna Barnes, Man Ray, Skipwith Cannell, Lola Ridge, Marcel Duchamp, and Fenton Johnson (poet).
Literary modernism, or modernist literature, originated in the late 19th and early 20th centuries and is characterized by a self-conscious break with traditional ways of writing in both poetry and prose fiction writing. Modernism experimented with literary form and expression, as exemplified by Ezra Pound's maxim to "Make it new." This literary movement was driven by a conscious desire to overturn traditional modes of representation and express the new sensibilities of the time. The horrors of the First World War saw the prevailing assumptions about society reassessed, and much modernist writing engages with the technological advances and societal changes of modernity moving into the 20th century. In Modernist Literature, Mary Ann Gillies notes that these literary themes share the "centrality of a conscious break with the past", one that "emerges as a complex response across continents and disciplines to a changing world".
Michael Heller, is an American poet, essayist and critic. Among his many books are Exigent Futures, In The Builded Place, Wordflow and Living Root: A Memoir. He wrote the libretto for the opera, Benjamin, based on the life of Walter Benjamin. He is recipient of awards including the NEH Poet/Scholar grant, New York Foundation for the Arts Fellowship (NYFA), National Endowment for the Humanities award, and The Fund for Poetry.
In the early years of the 20th century, rhymed lyric poetry, usually expressing the feelings of the poet, was the dominant poetic form in America, Europe and the British colonies. The relevance and acceptability of the lyric in the modern age was, though, called into question by modernism, the growing mechanization of human experience and the harsh realities of war. After the Second World War the form was again championed by the New Criticism, and in the late 20th century lyric once again became a mainstream poetic form.
Andonis George Manganaris-Decavalles January 25, 1920 – June 9, 2008, known under his pen name of Andonis Decavalles, was a Greek-American poet and professor of literature. Described by M. Byron Raizis as “the outstanding poet of the Greek diaspora in America," Decavalles published poetry, translations, and literary essays in a wide variety of American and Greek journals and was the author of 5 volumes of original poetry in Greek. A volume of his selected poems was translated into English by Kimon Friar. He authored Greek translations of T. S. Eliot's Four Quartets and the poetry of W. H. Auden, and he translated works of Greek writers into English, including Odysseus Elytis. In 1977 he was awarded the Academy of Athens Poetry Award for his book Armoi, Κaravia, Lytra [Greek: Αρμοί, Καράβια, Λύτρα; Joints, Ships, Ransoms], the first writer of the Greek diaspora to be so honored.
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