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2 results

  • 6 - A Kind of Light

  • from Part II - A Literary Imagination: Text Settings
  • John Link
  • Book: Elliott Carter's Late Music
  • Published online: 06 January 2022
  • Print publication: 27 January 2022, pp 117-226

  • Summary

    A study of Elliott Carter’s song cycles and other text settings from the period 1998-2011, with close readings of both poetry and music. Included are individual analytical essays on Tempo e tempi (poetry by Eugenio Montale, Salvatore Quasimodo, and Giuseppe Ungaretti), Of Rewaking (poems by William Carlos Williams), In the Distances of Sleep (poems by Wallace Stevens), Mad Regales (poems by John Ashbery), “La Musique” (poem by Charles Baudelaire), On Conversing with Paradise (texts from Ezra Pound’s Pisan Cantos), Poems of Louis Zukofsky, What Are Years (poems by Marianne Moore), A Sunbeam’s Architecture (poems by e e cummings), Three Explorations (poems by T. S. Eliot), The American Sublime (poems by Wallace Stevens).

  • Chapter 36 - San Francisco and the Beats

  • from Part IV - Beyond Modernism: American Poetry, 1950–2000
  • Edited by Alfred Bendixen, Princeton University, New Jersey, Stephen Burt, Harvard University, Massachusetts
  • Book: The Cambridge History of American Poetry
  • Published online: 05 December 2014
  • Print publication: 27 October 2014, pp 823-843

  • Summary

    Over the course of the depression that followed the stock market crash of October 1929, American poets on the left wrote an enormous amount of often passionate poetry addressing their social contexts. Revolutionary American poetry of the 1930s was inevitably written in the atmosphere of the modernist formal revolution. The Objectivists are thorough-going modernists, looking forward in both aesthetic and political terms. Carl Rakosi is an unabashedly lyrical poet, but with a propensity toward satire that often aims at social targets. As a movement and as individual poets, the Objectivists had been largely forgotten by the end of the 1930s. George Oppen and Rakosi had ceased writing, and Charles Reznikof had to some extent forgone poetry for prose writing. One index of the shift in Louis Zukofsky's concerns is the second half of A-9, written a decade after the first.