By Cristanne Miller
Cultures of Modernism explores how the constitution and site of literary groups considerably effect who writes, what they write approximately, and their openness to formal experimentation. those impacts relatively have an effect on girls writers. writer Cristanne Miller notes remarkable styles of similarity within the issues and lives of ladies residing in geographically far away facilities of modernist construction. She appears to be like at 3 major poets---the American Marianne Moore, the British expatriate Mina Loy, and the German Else Lasker-Schüler---in the context of cultural, nationwide, and native components to argue that position considerably affected their performances of subjectivity, gender, race, and faith. the 1st ebook of its style, Cultures of Modernism breaks new floor whereas it contributes to the continued reconception of the modernist period.
"A attention-grabbing, provocative, and really unique examine of a 'different' modernism in poetry---namely, the Modernism of girls poets."
---Marjorie Perloff, Stanford University
"An very important and bold paintings that makes significant contributions to the fields of gender reports and modernist reviews, and to the learn of modernist poetry."
---Robin Schulze, Pennsylvania country University
"Offers a welcome corrective to the unreflective serious tendency . . . to make huge claims in regards to the historic reports and cultural conundrums of 'women,' and especially 'women writers.' Miller bargains tour-de-force comparative readings . . . threading jointly the world-historical with the non-public, poetics with the political, and wielding the tools of scansion as deftly as a surgeon."
---Modernism/modernity, The reputable magazine of the Modernist reviews Association
Cristanne Miller is Edward H. Butler Professor of English and Chair of the English division on the collage of Buffalo, country collage of latest York.
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Extra info for Cultures of Modernism: Marianne Moore, Mina Loy, and Else Lasker-Schuler
Sample text
Struck thrice with a horse-whip I remember my mother’s hat Was something Killed for its feathers. (before I could interfere) Let the children come Unto me knowing nothing Of science or kindness. on his naked head, When I wake I should remember Nothing that happened, But think myself a flower. 24 for having handed me a glass The waves in their gray Ruches remind me Of tormented pigeons. of water not quite clean. At night I am cut Free. I confuse myself With birds. 25 The Peregrine Cast into the white amnesia of clouds he leaves this ground delighted; disappears above the lift of pigeons.
He came home made of glittering rock from the riverbeds, the marrow of what happened there. He came home a Protean con man, folding and unfolding like paper— now lover, now leopard, now swan. 30 Shiloh The shadows of boys move, hunched like animals in the grass under low clouds. They know the territory, its thistles and occasional jays. They know where they buried the dog. Whatever they find is authentic treasure—sometimes a bullet in shallow ground, sometimes a button. The cats have been here too.
41 Pinion So it is true that living makes you lighter, as if dying had made you a solid thing I can hold so painfully close, for a moment I cease being human. Now that I’ve lived to see you vanish, I see what you mean is the same as what you meant living: my windfall, my luck entirely. 42 Summer 1 As if to break my wrist, or will, she foots the glove— makes me know my bones. She is second nature now, like riding a horse at twelve, before my body became my body. At the first touch of air, her wings rise— the vise on my forearm tightens; her hackles are up— three layers of leather punctured and a small cry like an animal’s I realize later is mine.
