3. Convention and idiosyncrasy

2021 ◽  
pp. 46-66
Author(s):  
David Caplan
Keyword(s):  
Literary Culture ◽  
Emily Dickinson ◽  
American Poetry ◽  
Adrienne Rich ◽  
Phillis Wheatley ◽  
Charles Bernstein ◽  
American Poets

“Convention and idiosyncrasy” shows how the successful use of recognizable artistic conventions can help a poet to enter a literature and a culture that seeks to exclude them. It can moderate skepticism, even hostility, and sanction an outsider’s admittance into a community. At the same time, respect for poetic convention hardly reigns uncontested in American literary culture. With several notable exceptions, American poetry and, even more so, its scholarly discussions value a different quality. American poets and readers alike often appreciate idiosyncrasy and the associated values of disruption, originality, innovation, strangeness, and surprise. Poets as different Phillis Wheatley, Emily Dickinson, Adrienne Rich, Charles Bernstein, and Maggie Smith consider the competing imperatives of convention and idiosyncrasy.

‘I heard his silver Call’: Emily Dickinson and the Poetry of Telegraphic Acoustics

2019 ◽  
Vol 71 (299) ◽  
pp. 328-354
Author(s):  
Justin C Tackett
Keyword(s):  
Visual Impairment ◽  
Information Flow ◽  
Emily Dickinson ◽  
American Poetry ◽  
Specific Aspect ◽  
Oliver Wendell Holmes ◽  
Morse Code ◽  
American Poets

Abstract This essay focuses on a specific aspect of electric telegraphy in America—what I call ‘telegraphic acoustics’, which includes: 1) the sound of telegraph wires vibrating overhead and 2) ‘sound-reading’, the practice of transcribing Morse code by ear instead of transcribing it from a printout. Telegraphic acoustics started as a distinctively American technical evolution that emphasized sound and listening over sight and literacy. Because of this emphasis and because of increasingly universal poetic education, American telegraphers understood their technology in poetic terms. In turn, American poets, including John Greenleaf Whittier and Oliver Wendell Holmes Sr., also thought about poetry in terms of telegraphic acoustics. The essay focuses on Emily Dickinson as an in-depth case study because of her unusual familiarity with telegraphic acoustics in Amherst; her visual impairment, which heightened her awareness of sound; and her insights into the nature and future of networks and information flow. It concludes by examining the intersection of her poetry and telephony, which was perceived as an extension of telegraphy. I argue that thinking of these media acoustically, instead of in terms of literacy, reveals a rich separate discourse running through Dickinson’s poetry and American poetry generally. This discourse demands reinterpretations of several canonical Dickinson poems.

American Poetry: A Very Short Introduction

2021 ◽  
Author(s):  
David Caplan
Keyword(s):  
American English ◽  
Emily Dickinson ◽  
American Poetry ◽  
Close Attention ◽  
Short Introduction ◽  
Anne Bradstreet ◽  
Phillis Wheatley ◽  
The One ◽  
Verse Forms ◽  
Historical Periods

American Poetry: A Very Short Introduction proposes a new theory of American poetry showing that two characteristics mark the vast, contentious literature. On the one hand, several of its major poets and critics claim that America needs a poetry equal to the country’s own distinctiveness. On the other hand, American poetry welcomes techniques, styles, and traditions that originate from outside the country. Its influences range far beyond America’s borders. The force of these two competing characteristics drives both individual accomplishment and the broader field. The story moves through historical periods and honors the poets’ artistry by paying close attention to the verse forms, meters, and styles they employ. Its examples range from Anne Bradstreet, writing a century before America’s establishment, to the poets of the Black Lives Matter movement. Individual chapters consider how other major figures such as T. S. Eliot, Phillis Wheatley, Walt Whitman, and Emily Dickinson emphasize convention or idiosyncrasy and turn to American English as an important artistic resource.

Transatlantic Transformations of Romanticism

2020 ◽  
Author(s):  
Mark Sandy
Keyword(s):  
Nineteenth Century ◽  
William Faulkner ◽  
Second Generation ◽  
Literary Culture ◽  
Henry David Thoreau ◽  
Emily Dickinson ◽  
Natural World ◽  
Wallace Stevens ◽  
First Century ◽  
British Romanticism

This book presents innovative readings of literary works of British Romanticism and its influence on twentieth- and twenty-first-century American literary culture and thought. It traverses the traditional critical boundaries of prose and poetry in American and Romantic and post-Romantic writing. Analysing significant works by nineteenth-century writers, including Ralph Waldo Emerson, Henry David Thoreau and Emily Dickinson, as well as the later writings of William Faulkner, F. Scott Fitzgerald, Saul Bellow, Toni Morrison and Wallace Stevens, the book reasserts the significance of second-generation Romantic writers for American literary culture. Sandy reassesses our understanding of Romantic inheritance and influence on post-Romantic aesthetics, subjectivity and the natural world in the American imagination.

An American Triptych: Anne Bradstreet, Emily Dickinson, Adrienne Rich

1984 ◽  
Vol 57 (4) ◽  
pp. 613
Author(s):  
Laura Rice-Sayre ◽  
Wendy Martin
Keyword(s):  
Emily Dickinson ◽  
Adrienne Rich ◽  
Anne Bradstreet

scholarly journals Reading and Not-Printing: Obstruction at the Crater Press

2014 ◽  
Vol 2 (1) ◽  
pp. 31-53
Author(s):  
Richard Parker
Keyword(s):  
Nineteenth Century ◽  
Walt Whitman ◽  
Mark Twain ◽  
Emily Dickinson ◽  
Colonial Period ◽  
Benjamin Franklin ◽  
History Of ◽  
American Poets

I will begin this paper with a brief and partial history of American printing, detecting a shared predilection for a noticeably maverick relation to the printed page in the works (printed and otherwise) of Samuel Keimer and Benjamin Franklin during the colonial period, and the works of Walt Whitman, Emily Dickinson and Mark Twain in the nineteenth-century. I term the interrupted, dialectical printing that connects all of these writer/printers ‘not-printing’, and offer some explanation of his term and a description of some of its manifestations. I will then move on to consider how the idea of ‘not-printing’ might be helpful for the consideration of some contemporary British and American poets and printers before concluding with a description of some of the ways that the productive constraints of such a practice have influenced my own work as editor and printer at the Crater Press. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_2

scholarly journals NATURE, INACTION AND ILLUSION: THE INFLUENCE OF TAOISM ON AMERICAN POETRY IN THE 20TH CENTURY

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Zhu Lihong ◽  
Wang Feng
Keyword(s):  
United States ◽  
Comparative Analysis ◽  
20Th Century ◽  
Chinese Culture ◽  
The United States ◽  
American Poetry ◽  
Tao Te Ching ◽  
Beat Movement ◽  
Cultural Movements ◽  
American Poets

<p>Taoism is one of the most fundamental thoughts in China, and Laozi’s Taoist theory is even more brilliant, shining through the entire history of Chinese culture. Taoist culture and thoughts through translation have influenced American poetry directly or indirectly. Tao Te Ching (also Laozi) has become the most widely translated Chinese classic in history with the largest circulation overseas. Moreover, its translation has become second only to the Bible. At present, most scholars tend to comment on its translations, and there are few researches on the influence of Taoist thoughts after translation. Therefore, this paper intends to focus on the influences of Taoism on American poetry after translation. The study is based on three major cultural movements in the 20th century in the United States: the New Poetry Movement, the Beat Movement and the Deep Imagist Movement, taking typical poems in these movements as the research objects. The study intends to illustrate the great influences of Taoism on the three cultural movements in the 20th century in the United States by means of close reading, comparative analysis from the perspective of diachronic research. It first introduces the three American movements briefly, enumerates the poets who absorbed Taoist ideas in the movements, and then explains specifically what thoughts they absorbed from Taoism through the comparative analysis between the original Taoist thoughts and the thoughts in American poet’s poetry. It demonstrated in detail that American poets absorbed Taoist thoughts that have an impact on their poetry writing as poets. During the New Poetry Movement, the poets advocated the Taoists view of nature. During the Beat Movement, they paid close attention to the view of “inaction”, while the poets of the Deep Image Group concentrated on the illusion under the view of “homogeneous things”, which promoted the diversified development of American poetry.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0620/a.php" alt="Hit counter" /></p>

The Age of Auden

2011 ◽  
Author(s):  
Aidan Wasley
Keyword(s):  
United States ◽  
The United States ◽  
Central Place ◽  
American Poetry ◽  
Poetic Tradition ◽  
James Merrill ◽  
Wide Range ◽  
Global Catastrophe ◽  
Literary Histories ◽  
American Poets

W. H. Auden's emigration from England to the United States in 1939 marked more than a turning point in his own life and work—it changed the course of American poetry itself. This book takes, for the first time, the full measure of Auden's influence on American poetry. Combining a broad survey of Auden's midcentury U.S. cultural presence with an account of his dramatic impact on a wide range of younger American poets—from Allen Ginsberg to Sylvia Plath—the book offers a new history of postwar American poetry. For Auden, facing private crisis and global catastrophe, moving to the United States became, in the famous words of his first American poem, a new “way of happening.” But his redefinition of his work had a significance that was felt far beyond the pages of his own books. This book shows how Auden's signal role in the work and lives of an entire younger generation of American poets challenges conventional literary histories that place Auden outside the American poetic tradition. The book pays special attention to three of Auden's most distinguished American inheritors, presenting major new readings of James Merrill, John Ashbery, and Adrienne Rich. The result is a persuasive and compelling demonstration of a novel claim: In order to understand modern American poetry, we need to understand Auden's central place within it.

Dylan Thomas and American Poetry: ‘a kind of secret, but powerful, leaven’

2019 ◽  
pp. 197-214
Author(s):  
Philip Coleman
Keyword(s):  
American Poetry ◽  
Elizabeth Bishop ◽  
Charles Olson ◽  
Broad View ◽  
John Berryman ◽  
History Of ◽  
Dylan Thomas ◽  
American Poets ◽  
The Many ◽  
The Way

In The Poetry of Dylan Thomas (2013), John Goodby argues that ‘[t]he scope of Thomas’s impact on US poetry is remarkable, and it testifies to his characteristic hybrid ambivalence’. In the spirit of elaborating on this observation, this chapter considers how a number of quite different American poets have engaged with Thomas’s work, including Charles Olson, Delmore Schwartz, Elizabeth Bishop, and Denise Levertov. The essay also brings into focus the more explicit dialogue established throughout the poetry of John Berryman, for whom Thomas was a constant and almost familial figure from the 1940s to the end of his career. In Dream Song 88, Berryman imagines Thomas in the afterlife ‘with more to say / now there’s no hurry, and we’re all a clan.’ In this chapter, the idea of American poets belonging to or seeking to belong to such a ‘clan’ is examined, up to and including the work of a number of contemporary poets and schools of verse. The chapter takes a broad view, then, of the many ways Thomas has influenced the writing of poetry, and in doing so scrutinises the way the history of American poetry has so often been narrated.

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