By Harold Bloom
This quantity gathers jointly what Harold Bloom considers the easiest feedback at the significant American ladies poets. tested is the paintings of Anne Bradstreet, Emily Dickinson, Gertrude Stein, H.D. (Hilda Doolittle), Marianne Moore, and Louise Bogan. This identify, American ladies Poets (16501950), a part of Chelsea residence Publishers’ glossy severe perspectives sequence, examines the key works of yank ladies Poets (1650-1950) via full-length severe essays through specialist literary critics. moreover, this identify contains a brief biography on American girls Poets (1650-1950), a chronology of the author’s lifestyles, and an introductory essay written via Harold Bloom, Sterling Professor of the arts, Yale college.
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Additional resources for American Women Poets 1650-1950 (Modern Critical Views)
Whether such obscuring strategies have their origin in a deliberate desire to obscure or in an ironic evasiveness, or in both, no reader can ascertain; more alarming, such indeterminacy of language, despite the authoritative force of individual poems, may signal the potential breakdown of the word’s capacity to bear the pressures of simultaneous, antithetical meanings that deconstruct each other. Confronting her own awareness of the deconstructive possibilities in language, Dickinson ﬁnds that her weapons, her words, are double-edged.
Finally, her feminist poetics emerges as an experimental project that approaches modernist theories of art, for Dickinson shapes a revisionary language that pursues the possibilities of internally generated meanings as it resists the conﬁnes of ﬁguration, the potential clarities of signiﬁcation. Thus, Dickinson pursues as well a sublime if potentially fatal course as she discovers within the very indeterminacy of language a radically modern linguistic home. SHARON CAMERON Et in Arcadia Ego: Representation, Death, and the Problem of Boundary in Emily Dickinson The events of the unconscious are timeless, that is, they are not ordered in time, are not changed by the passage of time, have no relation whatever to time.
Despite this ironic maneuver, the poem resists any orthodox assertion of Divine omnipresence, proceeding instead to deﬁne other earthly relationships that are determined by chance and dependent upon the presence of an observer: The Acre gives them—Place— They—Him—Attention of Passer by— Of Shadow, or of Squirrel, haply— Or Boy— “Shadow,” “Squirrel,” “Boy”: the list moves from optical effect to sentient, hence potentially questioning, consciousness. In a movement that parallels the structure of the preceding stanza—in each case the ﬁnal line introducing the crucial term with the offhandedness given an afterthought—the poem again evades as it draws attention to its own implications—this time, the impact of a human viewer’s consciousness.
American Women Poets 1650-1950 (Modern Critical Views) by Harold Bloom