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2 results

  • Chapter 3 - Poetic Avant-Garde: Modernism and Little Magazines

  • from Part I - Literary Contexts
  • Edited by Jane Potter, Oxford Brookes University
  • Book:
    A History of World War One Poetry
    Published online:
    18 January 2023
    Print publication:
    12 January 2023, pp 51-65

  • Summary

    Critical accounts of the modes in which modernist poetry responds to the First World War continue to place an emphasis on men’s responses to war, either non-combatants such as T.S. Eliot and Ezra Pound, or those who served, among them Richard Aldington and Wyndham Lewis. This chapter does consider the men of the poetic avant-garde but also focuses on women of the avant-garde – H.D., Marianne Moore, Mina Loy and Juliette Roche – to unearth the generative impact of the First World War on their poetry. As this chapter explores, the war features as subject matter and stimulus for the poetries of modernism and in the pages of modernist magazines, generating new forms and perspectives alongside the vivid expressions of anger, trauma, loss, and disillusionment. However, as this chapter also argues, women poets wrote the conflict differently; in confronting both patriarchal and military violence, the First World War became a key impetus for their feminist avant-garde poetic.

  • Chapter 31 - Langston Hughes and His World

  • from Part III - Forms of Modernism, 1900–1950
  • 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 701-727

  • Summary

    This chapter considers the trajectory of Mina Loy's writing life from its beginnings in distinctly European avant-gardes through the influence of her early visits to the United States to a late poem titled America A Miracle. Loy's writing moves along a spectrum from reaction against futurist precepts in the language and style of European artistic movements to a late articulation of similar principles. Loy's early poetry is equally marked by her location among European avant-gardes. In New York, modernists were less interested in outraging cultural norms and less political in opposing specific cultural institutions than European avant-gardists. Loy's stylistic innovation in part imitates and in part extends Futurist aesthetics, just as she is both inspired by Futurist practices of art and energized to formulate her rejection of its ideas. Like Loy, Hilda Doolittle published under a name independent of the patronymics of her father and husbands.