By Nigel Alderman, C. D. Blanton
This quantity introduces scholars to an important figures, activities and developments in post-war British and Irish poetry.
- An historic review and demanding creation to the poetry released in Britain and eire over the past half-century
- Introduces scholars to figures together with Philip Larkin, Ted Hughes, Seamus Heaney, and Andrew Motion
- Takes an integrative procedure, emphasizing the complicated negotiations among the British and Irish poetic traditions, and pulling jointly competing trends and positions
- Written by means of critics from Britain, eire, and the United States
- Includes feedback for extra examining and a chronology, detailing an important writers, volumes and events
Read or Download A Concise Companion to Postwar British and Irish Poetry PDF
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Extra resources for A Concise Companion to Postwar British and Irish Poetry
To the contrary, the very intensity and speed of recent historical shifts have often prompted striking reconsiderations of form and spawned larger questions that poetry is uniquely equipped to answer. Writing of the history of postwar Europe more generally, Tony Judt has recently observed that the years after 1945 have “now come to be seen not as the threshold of a new epoch but rather as an interim age: a post-war parenthesis, the unfinished business of a conflict that ended in 1945 but whose epilogue had lasted for another half century” (2005: 2).
The French fleet was in the Mediterranean because of the feeling of confidence between the two countries. Hence it followed that if a foreign fleet came down the channel we could not stand aside and see it attack the defenceless coast of France. The House was brought to the conclusion that we had a definite obligation to defend the coast of France from attack, and, generally speaking, it showed that it was prepared to support the government in taking action. France was therefore entitled to know and know at once that she could depend on British support.
This was the beginning, these the sap years of the movement for which he had been designated, at least by himself, as leader and agent provocateur. His recollection of artists gathering before that earlier war in the Wiener Café in the British Museum district (Canto LXXX), for example, locates a center of reference for the energy he shared with his companion talents; here, in effect, was the vortex and origin-point for the extraordinary force field that would become literary modernism in English.