This is a study of the most paradoxical aspect of modernism, its obsession with the past. Eliot wrote that the artist must be conscious "not only of the pastness of the past, but of its presence." This creed permeated the movement: Modernists believed that the energies of the past could be resurrected in modern works, and that they could be the very force that makes those works modern: the urge of Pound and others to "make it new" stemmed from seeing the past as a source of renewal. Schneidau focuses on separate texts that incorporate these concepts: Joyce's Ulysses, Hardy's poems, Forster's Howards End, Conrad's Secret Agent, Sherwood Anderson's Winesburg, Ohio, and finally Pound's Cantos. In his discussions, many little-noticed connections are examined, including a transatlantic set: Hardy with Pound, Forster with Fitzgerald, Joyce and Lawrence with Anderson.
The Ethnic Image in Modern American Literature, 1900 -1950: 1
Mary's affirmation that one should not have to deserve a home leads Warren to consider what the term means , and she fosters his awakening by extending her ...
A friend of Abigail Adams for many years, Mercy Otis Warren is one of the most important women of the Revolutionary War pe- riod. She was a poet, ...
Prentice Hall Literature: The American Experience
Prentice Hall Literature Penguin Indiana Edition
Because she possessed a wide range of skills, Brooks was able to write in a multiplicity of forms and traditions. She also became involved in the Black Arts Movement. Brooks's poetry itself often considers international themes in local ...
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Gevaarlijk terrein: het landschap in de Amerikaanse literatuur
Features more than 130 short stories and poems by Edgar Allan Poe.
美国文学源流: Significant Poets, Novelists & Dramatists, 1775-1955