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- W2331504410 abstract "Errors and wrecks; things fallen apart; fragments shored against ruins: characteristic scene of modern poetry English is a broken culture or polity. The center cannot hold; has not held. The center, Pound's words, is merely a place where dreams clash / and are shattered.' The scene continues clearly into recent American poetry, where gestures of self-definition are repeatedly cast against a world which is not there. Yet British poetry, since death of Yeats, inhabits another scene entirely, almost a mirror image of now-familiar landscape of ruins. In a bombed land, a land physically battered, center has held-the center is problem. Things have not fallen apart; they have solidified into banality. The distinctive sentiment work of Philip Larkin, Donald Davie, Charles Tomlinson, Thom Gunn, Ted Hughes, and Geoffrey Hill is a sense of crowding; of litter, both material and moral; of cheapness and indifference to cheapness; and, above all, of oppressive, inescapable, thoroughly internalized presence of others. It is true that Ted Hughes's Crow flies in / over emptiness and that his kingdom, finally, is the empty world.2 But Crow has cleared this space by means of a variously imagined catastrophe, and ex-" @default.
- W2331504410 created "2016-06-24" @default.
- W2331504410 creator A5077169152 @default.
- W2331504410 date "1977-01-01" @default.
- W2331504410 modified "2023-09-25" @default.
- W2331504410 title "We All Hate Home: English Poetry since World War II" @default.
- W2331504410 doi "https://doi.org/10.2307/1208233" @default.
- W2331504410 hasPublicationYear "1977" @default.
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