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Books on the topic '1970s poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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1

Barry, Peter. Poetry wars: British poetry of the 1970s and the battle of Earls Court. Salt, 2006.

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2

de, Breyne Mathias, ed. The baby beats & the 2nd San Francisco renaissance: 1970s = Les années 1970. La Main Courante, 2005.

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3

MacDougall, Alan. Inland sailing: A collection of poetic sketches concerning work on the Great Lakes during the 1970s. Eden Pub., 2001.

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4

Day, Gary, and Brian Docherty, eds. British Poetry from the 1950s to the 1990s. Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5.

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5

1956-, Day Gary, and Docherty Brian, eds. British poetry from the 1950s to the 1990s: Politics and art. St. Martin's Press, 1997.

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6

Irish poetry of the 1930s. Oxford University Press, 2005.

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7

Eugenio, Montale. Satura: 1962-1970. A. Mondadori, 1992.

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8

1924-, Arrowsmith William, and Warren Rosanna, eds. Satura: 1962-1970. W.W. Norton., 1998.

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9

Selected poems, 1970-1985. Poetry Wales Press, 1986.

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10

1961-, De Paor Louis, ed. Freacnairc mhearcair: Rogha dánta 1970-1998 = The oomph of quicksilver : selected poems 1970-1998. Cork University, 2000.

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11

1946-, Codrescu Andrei, ed. American poetry since 1970: Up late. Four Walls Eight Windows, 1987.

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12

1946-, Codrescu Andrei, ed. American poetry since 1970: Up late. 2nd ed. Four Walls Eight Windows, 1989.

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13

Smith, Patti. Early work, 1970-1979. W.W. Norton, 1994.

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14

Rich, Adrienne Cecile. Collected early poems, 1950-1970. W.W. Norton & Co., 1993.

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15

Hamill, Sam. Destination zero: Poems, 1970-1995. White Pine Press, 1995.

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16

Rich, Adrienne Cecile. Collected early poems, 1950-1970. W.W. Norton & Co, 1993.

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17

1949-, Caddel Richard, and Quartermain Peter, eds. Other: British and Irish poetry since 1970. University Press of New England, 1999.

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18

Geddes, Gary. Active trading: Selected poems, 1970-1995. Goose Lane, 1996.

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19

Sapphics and uncertainties: Poems 1970-1986. University of Arkansas Press, 1995.

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20

Cold comfort: Selected poems, 1970-1996. Black Sparrow Press, 1997.

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21

Gardner, Calum. Poetry & Barthes. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941367.001.0001.

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This book is the first study of how the work of Roland Barthes, one of the most influential literary theorists of the twentieth century, came to be understood by poets working in English. Beginning with the work of the Scottish poet Veronica Forrest-Thomson in the 1970s, it traces Barthes through North American ‘Language writing’, the journals and little magazines of the period, 1980s writers responses to Barthes’ work on love, and finally writers who, for a variety of reasons, rejected Barthes’ theoretical interventions. In doing so, it offers a picture of how poets’ understanding of their ow
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22

MOONDRIFTER REVERIE: A POETRY NARRATIVE OF 1970S HOUSEBOAT LIFE. Red Mountain Press, 2017.

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23

James, Synthia Saint. In and Out of Love: Selected Poetry from the 1970s. Atelier SAINT JAMES, 2015.

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24

Bailey, Helen. Two Poetries?: A Re-Examination Of The ‘Poetry Divide’ In 1970s Britain. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199596805.013.021.

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25

Niven, Alex, ed. Letters of Basil Bunting. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198754817.001.0001.

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Abstract This is a long-awaited first selected edition of the letters of Basil Bunting, one of the major modernist poets of the twentieth century. It includes a large portion of Bunting’s correspondence (around 200 letters) to recipients including Ezra Pound, T. S. Eliot, Harriet Monroe, William Carlos Williams, Louis Zukofsky, Ted Hughes, George Oppen, Allen Ginsberg, Donald Davie and Tom Pickard. Following Bunting from his first encounters with literary modernism in London and Paris in the 1920s to his death in Northumberland in 1985, this selection showcases a narrative that is crucial to t
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26

The Language Letters: Selected 1970s Correspondence of Bruce Andrews, Charles Bernstein, and Ron Silliman. University of New Mexico Press, 2019.

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27

Hazzard, Oli. John Ashbery and Anglo-American Exchange. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822011.001.0001.

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This book shows how the work of a major post-war American poet has been centrally concerned with questions of national identity and intercultural poetic exchange, by reading crucial episodes in John Ashbery’s oeuvre in the context of an ‘other tradition’ of twentieth-century English poets he himself has defined. This line runs from the editor of Ashbery’s recent Collected Poems, Mark Ford, through Lee Harwood in the late 1960s, F. T. Prince in the 1950s, to ‘chronologically the first and therefore most important influence’ on his own work, W. H. Auden. Through detailed close readings of the po
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28

Hunter, Walt. Forms of a World. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282227.001.0001.

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Forms of a World: Contemporary Poetry and the Making of Globalization shows how the forms of contemporary poetry are forged through the transformations of globalization from 1970 to the present. The book’s inquiry springs from two related questions: what happens when we think of poetry as a global literary form, and when we think of the global in poetic terms? I argue that analyses of globalization are incomplete without poetry and that contemporary poetry cannot be understood fully without acknowledging the global forces from which it arises. Forms of a World contends that poetry’s role is no
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29

Beatitude magazine & the 1970s San Francisco renaissance: --a panegyric to the poets, pally and place-- : a photographic history. 2014.

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30

Westfahl, Gary. A Dangerous Amateur. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0003.

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This chapter discusses William Gibson's contributions to science fiction fanzines in the 1960s, 1970s, and 1980s, with particular emphasis on his cartoons and articles. When he was fifteen, Gibson began publishing cartoons in Fanac and his own fanzines, which reflect an adolescent sense of humor. Two cartoons in Wormfarm indicate that Gibson, like many science fiction fans, detested John W. Campbell Jr.'s enthusiasms for dubious pseudoscience like psychic powers (“psionics”) and the Dean Drive, a purported engine that violated Newton's Third Law of Motion. Gibson's prose in early fanzines is g
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31

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. The poetics of language. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0035.

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The chapter analyzes language-oriented poets and movements, showing how different conceptions of the poetic word emerged and influenced writing and performance throughout the period. The chapter follows the ramifications of avant-garde experiment, expressed in manifestos, public gestures, and performances. These innovations continued to influence the artistic practices of the 1920s and were revived later in the 1960s–80s. They comprised a legacy for concrete and Conceptualist poetry and, later, Metarealism. The chapter discusses the connection of these groups to underground culture, and shows
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32

Feinsod, Harris. The Ruins of Inter-Americanism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682002.003.0004.

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During the early Cold War, inter-Americanism often took shape in the genre of postromantic meditations on pre-Columbian ruins. These ruin poems are usually understood as expressions of universal humanism, exercises in postmodern tourism, symptoms of neo-imperial fortune hunting, or preludes to 1970s ethnopoetics. By contrast, the chapter argues that ruin poems galvanized by Pablo Neruda’s “Heights of Macchu Picchu” and Charles Olson’s “The Kingfishers” respond to the rapid demise of the movement for hemispheric democracy. Through their identifications with indigenous civic histories, poets cri
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33

Wootten, William. The Alvarez Generation. 2nd ed. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789627947.001.0001.

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This book is the biography of a taste in poetry and its consequences. During the 1950s and 1960s, a generation of poets appeared who would eschew the restrained manner of Movement poets such as Philip Larkin, a generation who would, in the words of the introduction to A. Alvarez's classic anthology The New Poetry, take poetry ‘Beyond the Gentility Principle’. This was the generation of Thom Gunn, Geoffrey Hill, Ted Hughes, Sylvia Plath, and Peter Porter. This book explores what these five poets shared in common, their connections, critical reception, rivalries, and differences, and locates wha
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34

Foster, Roy. The Poetry Question. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0017.

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Oxford University Press, with a long tradition of publishing scholarly books on English literature, canonical authors, and anthologies of poetry, did not introduce a contemporary poetry list until the 1960s. Under the direction of Jon Stallworthy, himself a noted poet, and with the support of the Delegates, the Press developed a vibrant list that included the work of poets from Britain, Ireland, America, Australia, and New Zealand, as well as English poetic translations of European titles. Despite its critical success the poetry list was not profitable, and, facing serious financial constraint
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35

Jaime, Karen. The Queer Nuyorican. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479808281.001.0001.

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The Queer Nuyorican critically studies the historical, political, and cultural conditions under which the term “Nuyorican” shifts from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. While “Nuyorican,” uppercase N, marks an ethnic, political, and cultural identity signifying Puerto Rican community, culture, and struggle in New York City from the late 1960s through the 1980s, “nuyorican,” lowercase n, references an aesthetic practice that developed alongside the spoken word and competitive slam poetry scene in the 1990s. The nuyorican aesthetic queers fixed definitions of
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36

Szkárosi, Endre. The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.46.

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This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultur
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37

(Editor), Gary Day, and Brian Docherty (Editor), eds. British Poetry from the 1950s to the 1990s: Politics and Art. St. Martin's Press, 1997.

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38

Docherty, Brian, and Gary Day. British Poetry from the 1950s to The 1990s: Politics and Art. Palgrave Macmillan, 1997.

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39

Gary, Day, and Docherty Brian, eds. British poetry from the 1950s to the 1990s: Politics and art. Macmillan, 1997.

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40

Dworkin, Craig. Dictionary Poetics. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287987.001.0001.

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Dictionary Poetics analyses book-length poems from a number of writers who have used particular editions of specific dictionaries to structure their work. Spanning most of the 20th century, this study investigates poems by Louis Zukofsky and George Oppen (two “Objectivist” writers of the late 1920s and early 1930s), Clark Coolidge and Tina Darragh (two “Language Poets” with books from the 1970s and 1980s, respectively), and Harryette Mullen (a post-Black-Arts writer who flourished in the 1990s). By reverse-engineering poems, this study sets the critical record straight on multiple counts. More
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41

Ehlers, Sarah. Left of Poetry. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.001.0001.

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In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically
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42

Antliff, Allan. Poetic Tension. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0008.

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This essay examines the politics of New York's Living Theater, from its founding in late 1940s to the mid-1960s. He will outline Julian Beck and Judith Malina's anarchist-pacifism, their involvement in anti-nuclear bomb protests during the 1950s and early 1960s, and the increasingly confrontational tenor of their theater productions. Topics to be discussed include the abstract expressionist paintings of Beck, Malina's interest in the Gestalt theories of Paul Goodman, and the group's collaborations with composer John Cage, poet Jackson Mac Low, and the artists of the No! Art! movement. The chap
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43

Greene, Dana. “A Cataract Filming Over My Inner Eyes”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037108.003.0005.

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This chapter details the life and career of Denise Levertov from 1962 to 1967. The 1960s was an auspicious time to be a poet. Poetry magazines, publishing houses, poetry readings, and writer-in-residence programs at colleges and universities proliferated, allowing for greater exposure for poets, especially for women, who previously had little opportunity for recognition of their talent. Levertov benefited from these circumstances. She was in demand as a poet, and in 1962, was granted a coveted Gugenheim Fellowship. In addition to its prestige, the accompanying monetary award allowed her some l
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44

Dewar, Andrew Raffo. Performance, Resistance, and the Sounding of Public Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0015.

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Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio, formed the intermedia performance collective Movimiento Música Más. The collective combined experimental music, visual art, poetic performance, and political action, carrying out activities in concert halls, plazas, and city buses. This chapter examines the activist art of this little-known “Other” avant-garde that existed at the periphery of 1960s internationalism, focusing on two of its performance pieces: Plaza para una siesta de domingo (1970) and Música para cole
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45

Kerrigan, John, and Peter Robinson, eds. The Thing About Roy Fisher. Liverpool University Press, 2000. http://dx.doi.org/10.5949/liverpool/9780853235156.001.0001.

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The Thing About Roy Fisher, edited by John Kerrigan and Peter Robinson, brings together critical essays that aim to increase the awareness of the literature produced by Roy Fisher during his forty year writing career. The following studies offer analytical research that focus on the historical context and influences surrounding Fisher’s writing, including the writer’s block he experienced in the late 1960s and his personal relationship to the city of Birmingham. The text also makes a comment on the work’s reception from both critical and public opinion and measures how well Fisher’s poetry is
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46

Feinsod, Harris. Renga and Heteronymy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682002.003.0007.

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This chapter uses the backdrop of the myriad international poetry conferences of the 1960s to analyze poetic performances of cosmopolitanism and the discourse of translation. The ethical role of convening poets to perform and translate one another’s works was mainstreamed as a literary idea in service to the maintenance of a peaceful world, so much so that Paz, in the multilingual, collaboratively authored Renga (1971), announced he was living in “the century of translation.” Juxtaposing Renga and Kenneth Koch’s collection of hoax translations “Some South American Poets,” the chapter elucidate
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47

Greene, Dana. “The Thread”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037108.003.0009.

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This chapter details the life and career of Denise Levertov from 1982 to 1984. “The Thread,” a poem of the 1960s, reflected Levertov's ongoing awareness of her vocation. In the early 1980s at age sixty, the tug was there again. In this case it was a silent ineluctable shift from the doubt that grounded her lifelong agnosticism toward a tentative religious faith. This resulted not from some dramatic conversion but from “faithful attention” to living out her vocation as a poet. Levertov came to religion tentatively, doubting, embarrassed. Occasionally, she would attend a religious service, somet
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48

Galvin, Rachel. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190623920.003.0009.

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Writing about the wars in Iraq and Afghanistan, contemporary United States–based poets Mónica de la Torre, Ben Lerner, Philip Metres, Claudia Rankine, Juliana Spahr, and C. D. Wright have repurposed the news media’s logic of juxtaposition and simultaneity and civilian poets’ meta-rhetorical strategies from the 1930s and 1940s. Recent scholarship has not yet attended to how U.S. civilian poets use these strategies to critique war culture in the twenty-first century. This chapter argues that an ethically motivated self-distrust that sees itself seeing has become the prima materia of an important
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49

Fakhreddine, Huda J. The Arabic Prose Poem. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474962.001.0001.

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When the modernist movement in Arabic poetry was launched in the 1940s, it threatened to blur the distinctions between poetry and everything else. The Arabic prose poem, qaṣīdat al-nathr, is probably the most subversive and extreme manifestation of this blurring. The term was first introduced in 1960, as a translation of the French phrase «poème en prose» and is the first example of non-metrical Arabic poetry. This book examines this “new genre” as a poetic practice and as a critical lens which gave rise to a profound, contentious and continuing debate about the definition of an Arabic poem, i
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50

American Poetry Since 1970. Four Walls Eight Windows, 1993.

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