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The American love lyric after Auschwitz and Hiroshima

Author: Barbara L Estrin
Publisher: New York : Palgrave, 2001.
Edition/Format:   Book : English : 1st edView all editions and formats
Database:WorldCat
Summary:
"Citing the massive horrors of the Nazi death camps and the domestic violence behind a woman's suicide, Adrienne Rich challenges a fellow poet: "would it relieve you to decide 'Poetry doesn't make this happen'?" In her provocative reassessment of the modern American love lyric, Barbara L. Estrin pursues Rich's question and discovers the connection between the language of love poetry and the rhetoric of hate speech  Read more...
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Named Person: Wallace Stevens; Robert Lowell; Adrienne Rich
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Barbara L Estrin
ISBN: 0312238657 9780312238650
OCLC Number: 47018493
Description: xviii, 253 p. : ill. ; 22 cm.
Contents: Theorizing the lyric --
"Form gulping after formlessness": Petrarch's resistant Lauras in Steven's "Auroras of autumn" --
"The intricate evasions of As": history's duplicities in Steven's "An ordinary evening in New Haven" --
"Infinite mischief": Robert Lowell's fiction of desire in The dolphin --
"Solid with yearning": Lowelling and Laureling in Day by day --
Reversing the past: Adrienne Rich's outrage against order --
"At long last first": Adrienne Rich's Dark fields and Samuel Beckett's colorless Cliff --
After-words.
Responsibility: Barbara L. Estrin.
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Abstract:

"Citing the massive horrors of the Nazi death camps and the domestic violence behind a woman's suicide, Adrienne Rich challenges a fellow poet: "would it relieve you to decide 'Poetry doesn't make this happen'?" In her provocative reassessment of the modern American love lyric, Barbara L. Estrin pursues Rich's question and discovers the connection between the language of love poetry and the rhetoric of hate speech that culminated in the genocides of World War II. The American Love Lyric After Auschwitz and Hiroshima chronicles the return of three major American poets (Wallace Stevens, Robert Lowell, and Adrienne Rich) to the mid-century catastrophes that reveal the unexpected links between poetry and war. Through close readings of individual poems and drawing upon gender and genre theories, Estrin counters the presupposition that the lyric remains sequestered in apolitical isolation. Her case that Stevens, Lowell, and Rich view the Petrarchan conventions they inherit from their European predecessors as contributive to the ideologies that went awry in the twentieth century constitutes a revisionist critique of American poetry. She also explores the prevalent influence of the traditional forms that all three poets simultaneously use and revise as they render the love lyric responsive to the cultural agonies of the postwar era."--BOOK JACKET.

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schema:reviewBody""Citing the massive horrors of the Nazi death camps and the domestic violence behind a woman's suicide, Adrienne Rich challenges a fellow poet: "would it relieve you to decide 'Poetry doesn't make this happen'?" In her provocative reassessment of the modern American love lyric, Barbara L. Estrin pursues Rich's question and discovers the connection between the language of love poetry and the rhetoric of hate speech that culminated in the genocides of World War II. The American Love Lyric After Auschwitz and Hiroshima chronicles the return of three major American poets (Wallace Stevens, Robert Lowell, and Adrienne Rich) to the mid-century catastrophes that reveal the unexpected links between poetry and war. Through close readings of individual poems and drawing upon gender and genre theories, Estrin counters the presupposition that the lyric remains sequestered in apolitical isolation. Her case that Stevens, Lowell, and Rich view the Petrarchan conventions they inherit from their European predecessors as contributive to the ideologies that went awry in the twentieth century constitutes a revisionist critique of American poetry. She also explores the prevalent influence of the traditional forms that all three poets simultaneously use and revise as they render the love lyric responsive to the cultural agonies of the postwar era."--BOOK JACKET."
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