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By Neil Roberts

Compiled and edited through Neil Roberts (Professor of English Literature at Sheffield University), A better half To Twentieth-Century Poetry is a magnificent anthology of forty-eight scholarly essays drawn from a wide selection of authors and academicians learning the advance of poetry in twenty English-speaking nations over the past century. From context of the poets and their paintings; to the repercussions of the post-colonial age; to the expanding voice of woman poets; in addition to an total tendency in the direction of self-consciousness and self-reflection; A spouse To Twentieth-Century Poetry deals trained and informative insights gleaned from as frequent and numerous a bunch of individuals because the authors of the memorable poems themselves.

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Extra info for A companion to twentieth-century poetry

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Gibson, 1995, p. 11) Thus while it was ‘new’ and moved ‘forward’ out of aestheticism, Eliot and Pound’s renovative project took them ‘backwards’ to an anthology of ‘pre-texts’, among them a Victorian discourse of social concern which reappeared, edited and in ‘translation’, in the heteroscript of Anglo-American modernism. Victorian into Modern: Interiority and Impersonality The Victorians, however, provided technical solutions as well as a social and ideological precedent for the later modernists.

126) and consistently acknowledged his importance, along with the English poets James Thomson and John Davidson, in establishing a contemporary urban idiom. In his 1930 essay on Baudelaire, he detected something else, however; something ‘permanent’ which made Baudelaire more than ‘the voice of his time’; an ‘essentially Christian’ attitude, said Eliot, which realized ‘the real problem of good and evil . . that what really matters is Sin and Redemption’ (Eliot, 1951, pp. 421, 427). In this capacity Baudelaire served less as a precur- Modernist Poetry and its Precursors 25 sor of ‘modernist’ poetry than as an ideological precedent for Eliot’s own emerging project, apparent from The Waste Land onwards, to return the sordid new modern world to the faith it had lost.

40). So taken with the London scene was Eliot that he abandoned his plans for an American academic career, married an Englishwoman, and turned himself into an English man of letters. Eventually, he became a British subject, proclaimed his allegiance to the Crown, and embraced the Church of England. So transatlantic did he become that today both British and American students of literature claim him as a national author. In their expatriations, Eliot and Pound were inspired by the example of the great American novelist and short-story writer, Henry James (1843–1916).

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