Kirjahaku

Primarily a literary history, Women, Modernism and British Poetry, 1910-1939 provides a timely discussion of individual women poets who have become, or are becoming, well-known as their works are reprinted but about whom little has yet been written. This volume recognizes the contributions, overlooked previously, of such British poets as Anna Wickham, Nancy Cunard, Edith Sitwell, Mina Loy, Charlotte Mew, May Sinclair, Vita Sackville-West and Sylvia Townsend Warner; and the impact of such American poets as H.D., Amy Lowell, Edna St. Vincent Millay, Marianne Moore and Laura Riding on literary practice in Britain. This book primarily maps the poetry scene in Britain but identifies the significance of the network of writers between London, New York and Paris. It assesses women's participation in the diversity of modernist developments which include avant-garde experiments, quiet, but subtly challenging, formalism and assertive 'new woman' voices. It not only chronicles women's poetry but also their publications and involvement in running presses, bookshops and writing criticism. Although historically situated, it is written from the perspective of contemporary debates concerning the interface of gender and modernism. The author argues that a cohering aesthetic of the poetry is a denial of femininity through various evasions of gendered identity such as masking, male and female impersonations and the rupturing of realist modes.

This is the only monograph to consider the entire thirty-year career, publications, and influence of Britain's first female poet laureate. It outlines her impact on trends in contemporary poetry and establishes what we mean by ‘Duffyesque’ concerns and techniques. Discussions of her writing and activities prove how she has championed the relevance of poetry to all areas of contemporary culture and to the life of every human being. Individual chapters discuss the lyrics of ‘love, loss, and longing’; the socially motivated poems about the 1980s; the female-centred volumes and poems; the relationship between poetry and public life; and poetry and childhood and written for children. The book should whet the appetite of readers who know little of Duffy’s work to find out more, while providing students and scholars with an in-depth analysis of the poems in their contexts. It draws on a wide range of critical works and includes an extensive list of further reading.

Primarily a literary history, Women, Modernism and British Poetry, 1910-1939 provides a timely discussion of individual women poets who have become, or are becoming, well-known as their works are reprinted but about whom little has yet been written. This volume recognizes the contributions, overlooked previously, of such British poets as Anna Wickham, Nancy Cunard, Edith Sitwell, Mina Loy, Charlotte Mew, May Sinclair, Vita Sackville-West and Sylvia Townsend Warner; and the impact of such American poets as H.D., Amy Lowell, Edna St. Vincent Millay, Marianne Moore and Laura Riding on literary practice in Britain. This book primarily maps the poetry scene in Britain but identifies the significance of the network of writers between London, New York and Paris. It assesses women's participation in the diversity of modernist developments which include avant-garde experiments, quiet, but subtly challenging, formalism and assertive 'new woman' voices. It not only chronicles women's poetry but also their publications and involvement in running presses, bookshops and writing criticism. Although historically situated, it is written from the perspective of contemporary debates concerning the interface of gender and modernism. The author argues that a cohering aesthetic of the poetry is a denial of femininity through various evasions of gendered identity such as masking, male and female impersonations and the rupturing of realist modes.