Titlebook: British Poetry from the 1950s to the 1990s; Politics and Art Gary Day (Senior Lecturer in English and Cultural Book 1997 Palgrave Macmilla

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https://doi.org/10.1007/978-3-8349-8904-8ngs about his or her life while we politely pretend not to listen. Or, as John Stuart Mill suggested in the nineteenth century, it is the writer who pretends that we cannot hear him or her. His argument went that while eloquence ‘supposes an audience’ and can be said to be heard, ‘the peculiarity of

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Introduction: Poetry, Politics and Tradition,s threatening to impoverish our understanding of poetry. It has led to an ignorance of tradition and a corresponding blankness in the face of poetry as art. And, if criticism is so desensitised that it cannot recognise or respond to a poem as a poem, then what possible credence can be given to its p

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Basil Bunting: Briggflatts,gy . of 1962. Quite apart from its prioritisation of verbal music over positivistic sentiment and its ‘Lindisfarne’. intricacy of patterning, the poem broke away from the consensus that the short lyric was the vehicle of contemporary poetics. . is, like ., a shrunken epic — though one as personalise

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,‘Never Such Innocence Again’: The Poetry of Philip Larkin,ow poems about ‘unhappiness, loss [and] a sense of missing out’. can be a pleasure either to read or write but, as Larkin said on another occasion, ‘[t]he impulse for producing a poem is never negative; the most negative poem in the world is a very positive thing to have done.’. Larkin enters into m

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Poetic Subjects: Tony Harrison and Peter Reading,occupied with and drawn to ‘traditional’ forms, and yet they are both vehemently hostile to poetry as a ‘special preserve’ (Harrison) or ‘Ovaltine’ (Reading). Contemporary social reality, often in ugly manifestations, finds its way into the work of both, and they make deliberately shocking and foreg

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,Salvaged from the Ruins: Ken Smith’s Constellations, they know about the later course of history’ in ‘a(chǎn) process of empathy whose origin is the indolence of the heart, ., which despairs of grasping and holding the genuine historical image as it flares up briefly’. Such a historiography, he says, is ‘the root cause of sadness’:

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Dance of Being: The Poetry of Peter Redgrove,s of modern warfare are made possible by a model of scientific thought which holds as an axiom that the thinker’s subjectivity must be rigorously excluded. He calls this a ‘monstrous cosmic detachment … which is held to describe the ground of our universe, and modern behaviour,’. and points out that

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Seamus Heaney: From Revivalism to Postmodernism,Kearney, who writes with the added authority of a working association with Heaney, describes what he takes to be the dominant reading of him.. ‘Heaney’s primary inspiration, we are told, is one of place his quintessentially Irish vocation, the sacramental naming of a homeland. Hence the preoccupatio

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,‘Some Sweet Disorder’ — the Poetry of Subversion: Paul Muldoon, Tom Paulin and Medbh McGuckian, feature of contemporary British poetry are those poets outside the dominant social wisdom — not necessarily in overtly political terms, but in the sense of having at their disposal historical or symbolic resources, allegiances and affiliations denied to those who write straight out of the depthless

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