By P. Gwiazda
Examining poetry via Robert Pinsky, Adrienne wealthy, and Amiri Baraka, between others, this ebook exhibits that prime US poets in view that 1979 have played the position of public highbrow via their poetic rhetoric. Gwiazda's argument goals to revitalize the position of poetry and its social price inside of an period of world politics.
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Extra info for US Poetry in the Age of Empire, 1979–2012
Sample text
67 Building on Auden’s legacy, these poets assume that poetry can successfully express collective experience as long as it combines private and public vocabulary. They believe that poetry, notwithstanding its marginal status in the literary and cultural marketplace, can offer at least an illusion of social life. ”68 Rather, these poets, 24 l US Poetry in the Age of Empire, 1979–2012 to use Altieri’s phrase, listen well and speak responsibly. They write with a sense of obligation to their audience, assigning equal value to statement and treatment, the subject and the manner of representation.
After all, the realm of politics is highly charged with emotions, often openly shared emotions. the network of our lives”60 —we will realize that poets are particularly well equipped to express our basic sense of who we are, not only as individuals but as members of community or different communities. Poetry, in this sense, never runs the risk of becoming mere doctrine or propaganda. It can never be reduced to its message. Rather, it continuously asserts its status as an important art form whose medium is language—a tool and system of communication that indeed largely shapes the references and associations of life.
Rich wrote “An Atlas of the Difficult World” during the Persian Gulf War of 1990–1991, the first military conflict of the new world order. ” However, her poem quickly becomes an anguish-filled lament about the impossibility of forming patriotic attachments in the era of real and symbolic violence. ” As I argue, in “An Atlas” Rich also makes a valuable contribution to the “death of poetry” debates of the 1980s and early 1990s in which she delineates the conditions for a recovery, if not discovery, of poetry readership in a pluralistically conceived notion of poetry audience.