Contemporary Poets

Over the years, Pennsylvania has been graced with an abundance of writers whose work draws imaginatively on the state’s history and culture. Common Wealth sings the essence of Pennsylvania through contemporary poetry. Whether Pennsylvania is their point of origin or their destination, the featured poets ultimately find what matters: heritage, pride, work, inventiveness, struggle, faith, beauty, hope. Keystone poets Marjorie Maddox and Jerry Wemple celebrate Pennsylvania with this wide range of new and veteran poets, including former state poet Samuel Hazo, National Book Award winner Gerald Stern, Pulitzer Prize winners Maxine Kumin, W. S. Merwin, and W. D. Snodgrass, and Reading-born master John Updike. The book’s 103 poets also include such noted authors as Diane Ackerman, Maggie Anderson, Jan Beatty, Robin Becker, Jim Daniels, Toi Derricotte, Gary Fincke, Harry Humes, Julia Kasdorf, Ed Ochester, Jay Parini, Len Roberts, Sonia Sanchez, Betsy Sholl, and Judith Vollmer. In these pages, poems sketch the landscapes and cultural terrain of the state, delving into the history, traditions, and people of Philadelphia, “Dutch” country, the coal-mining region, the Poconos, and the Lehigh Valley; the Three Rivers region; the Laurel Highlands; and Erie and the Allegheny National Forest. Theirs is a complex narrative cultivated for centuries in coal mines, kitchens, elevated trains, and hometowns, a tale that illuminates the sanctity of the commonplace—the daily chores of a Mennonite housewife, a polka dance in Coaldale, the late shift at a steel factory, the macadam of the Pennsylvania Turnpike. With its panoramic vision of Pennsylvania, its culture, and its thriving literary heritage, Common Wealth is a collection of remembrance for a state that continues to inspire countless contributions to American literature.

Contains poems by A.R. Ammons, Alan Ansen, John Ashbery, Marvin Bell, Michael Benedikt, John Berryman, Elizabeth Bishop, Robert Bly, Philip Booth, Edgar Bowers, Tom Clark, Gregory Corso, Henri Coulette, Robert Greeley, J.V. Cunningham, James Dickey, William Dickey, Alan Dugan, Alvin Feinman, Edward Field, Donald Finkel, Isabella Gardner, Jack Gilbert, Allen Ginsberg, Louise Gluck, Paul Goodman, John Haines, Donald Hall, Kenneth O. Hanson, Anthony Hecht, Daryl Hine, Daniel Hoffman, John Hollander, Richard Howard, Barbara Howes, Robert Huff, Richard Hugo, David Ignatow, Randall Jarrell, LeRoi Jones, Donald Justice, Weldon Kees, X.J. Kennedy, Galway Kinnell, Carolyn Kizer, Kenneth Koch, Al Lee, Denise Levertov, Philip Levine, Laurence Lieberman, John Logan, Robert Lowell, William H. Matchett, E.L. Mayo, William Meredith, James Merrill, W.S. Merwin, Howard Moss, Stanley Moss, Lisel Mueller, Howard Nemerov, Frank O'Hara, Charles Olson, Robert Pack, Donald Petersen, Sylvia Plath, Adrienne Rich, Theodore Roethke, James Schuyler, Winfield Townley Scott, Anne Sexton, Karl Shapiro, Charles Simic, Louis Simpson, L.E. Sissman, William Jay Smith, W.D. Snodgrass, Gary Snyder, William Stafford, Mark Strand, Robert Sward, May Swenson, James Tate, Constance Urdang, Peter Viereck, David Wagoner, Ds.

Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.

From the modernist explorations of the first half of the 20th century to the diverse styles and practitioners of the 21st century, contemporary American poetry has forged a vital and enduring tradition. This volume explores the genre's recent history and development, as succeeding generations of poets have taken up the American idiom and molded it into their own unique modes of expression. This new edition explores contemporary poetry through a selection of critical essays and also features an introductory essay by esteemed professor Harold Bloom.

Poets list authors and titles that have been essential in the development of their art, and offer commentary on their lists.

First Published in 1979. This volume includes simple and systematic introduction to the more important post-war English poets. Including reviews of the poetry of Larkin, Tomlinson, Gunn, Hughes, Plath, Heaney and more. This work will appeal to A-level students, undergraduates, members of adult education classes and general readers enjoying modern literature.