Cover image for Modern British poetry, 1900-1939
Title:
Modern British poetry, 1900-1939
Author:
Persoon, James.
Personal Author:
Publication Information:
New York : Twayne Publishers, [1999]

©1999
Physical Description:
xvi, 207 pages : illustrations ; 23 cm.
Language:
English
Contents:
"Make it new": Edwardians, Georgians, Impressionists, and Imagists, 1900-1912 -- "The land of lost content": From the Georgian countryside to the war's trenches, 1913-1915 -- "Brother Lead and Sister Steel": Poetry and the Great War, 1916-1918 -- "My killed friends are with me where I go": Survivors, casualties, and prisoners of war, 1919-1929 -- "Nothing yet was ever done / Till it was done again": The Thirties and the coming war, 1930-1939.
ISBN:
9780805716818
Format :
Book

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PR610 .P43 1999 Adult Non-Fiction Non-Fiction Area
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Summary

Summary

Essays cover British poets of the first forty years of this century including: W.H. Auden Dylan Thomas Edwin Muir And others


Reviews 1

Choice Review

In his preface, Persoon (Grand Valley State College) comments on the problems and opportunities of writing about modern British poetry without including Hardy (19th century), Yeats (Irish), and Pound and Eliot (Americans). In fact all four hover around the boundaries of this book, but Persoon takes advantage of an opportunity to write about less familiar poets. Much of the book deals with the powerful effect on British poetry of WW I, which altered the ways poets wrote and were evaluated. Persoon writes with insight about two poets who died in the war--Wilfred Owen, whose reputation is based on about two dozen poems, and Edward Thomas, especially in terms of his rapid growth as a poet. Readers will also find discussions of poets whose names may be more familiar than their work: Robert Graves and Laura Riding; Edith Sitwell and her brothers; H.D. and Stevie Smith. D. H. Lawrence receives considerable treatment as a poet, and Persoon includes interesting material on such less-known women as Frances Cornford, Ruth Pitter, and Anna Wickham, whose work lacks the feminist luster apparently required for rediscovery by contemporary scholars. Although the book suffers from too much breadth and too little depth, it provides a useful introduction to the context of modern British poetry. Recommended for undergraduate libraries. S. F. Klepetar; St. Cloud State University