Self and sensibility in contemporary American poetry
Author(s)
Bibliographic Information
Self and sensibility in contemporary American poetry
（Cambridge studies in American literature and culture）
Cambridge University Press, 2009, c1984
- : pbk
Available at 1 libraries
Note
"First published 1984. This digitally printed version 2009"--T.p. verso
"Paperback re-issue"--Back cover
Includes bibliographical references and index
Description and Table of Contents
Description
Self and Sensibility in Contemporary American Poetry is an inquiry into the cultural roles lyric poetry does and can play in our age. Charles Altieri first establishes a dominant mode in 'serious' American poetry by identifying current assumptions inherent in the teaching of creative writing and the awarding of prizes and contracts. The dominant mode is seen not as a prescribed style but as a set of styles that share assumptions and that tend to seek the same narrow audience. Altieri views this mode as essentially scenic, presenting in brief dramatic settings subdued, carefully wrought emotions that build to a climactic tactile image. In examining why the style appeals, the author suggests that we find in the dominant mode models of the self, of the power of language, and of the nature of emotions that are very close to the prudential narcissism of the professional classes. Two theses follow: that contemporary poetry can be approached as a paradigm for analysing literature in cultural terms (since we know the culture well on independent grounds); and that the cultural analogies help demonstrate the pressures on younger poets to explore styles that break from or attempt to overthrow the dominant mode.
Table of Contents
- 1. Self and sensibility in contemporary poetry
- 2. The dominant poetic mode of the late seventies
- 3. The pressure to transform
- 4. The paradoxes of contemporary antiromanticism
- 5. Robert Creeley's poetics of conjecture: the pains and pleasures of staging a self at war with its own lyric desires
- 6. John Ashbery: discursive rhetoric within a poetics of thinking
- 7. Self-reflection as action: the recent work of Adrienne Rich
- 8. Epilogue: Criticism and contemporary poetry
- Afterword.
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