By Jahan Ramazani
Poetry is usually considered as culturally homogeneous—“stubbornly national,” in T. S. Eliot’s word, or “the so much provincial of the arts,” based on W. H. Auden. yet in A Transnational Poetics, Jahan Ramazani uncovers the ocean-straddling energies of the poetic imagination—in modernism and the Harlem Renaissance; in post–World struggle II North the USA and the North Atlantic; and in ethnic American, postcolonial, and black British writing. Cross-cultural trade and impact are, he argues, one of the leader engines of poetic improvement within the 20th- and twenty-first centuries. Reexamining the paintings of a big selection of poets, from Eliot, Yeats, and Langston Hughes to Elizabeth Bishop, Lorna Goodison, and Agha Shahid Ali, Ramazani unearths the numerous ways that glossy and modern poetry in English overflows nationwide borders and exceeds the scope of nationwide literary paradigms. via numerous transnational templates—globalization, migration, commute, style, impression, modernity, decolonization, and diaspora—he discovers poetic connection and discussion throughout international locations or even hemispheres. highly wide-ranging in scope but conscientiously excited by details, A Transnational Poetics demonstrates how poetic research can foster an aesthetically attuned transnational literary feedback that's whilst alert to modernity’s international .
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Additional resources for A Transnational Poetics
45 In view of culture-of-birth determinism, Eliot’s English accent, Anglo- Catholic conversion, and adoption of British citizenship and home are but evasions of his real Americanness. To keep him from falling outside the bounds of the Americanist narrative in The New Princeton Encyclopedia of Poetry and Poetics, the entry on “American Poetry” says, “his Am. roots, his growing up in St. ”46 Meanwhile, the author of the entry on “English Poetry” in the same encyclopedia has the reverse problem of qualifying Eliot for British literary citizenship: “The seminal ﬁgures, Pound and Eliot, were both Americans,” grants the author, “though Eliot became very thoroughly Anglicized” and “can be seen as the man who brought Fr.
Although literary scholarship is not a branch of the Bureau of 24 chapter two Immigration and Citizenship Services, as the INS has recently been renamed, critics co-construct the national and ethnic identities of writercitizens, routinely issuing passports to T. S. Eliot, Mina Loy, W. H. ”2 While literature, as Benedict Anderson shows, helps fashion “imagined community,”3 or ethnos, the boundaries of national and regional community are also confounded by poets, novelists, playwrights, and readers as they forge alliances of style and sensibility across vast distances of geography, history, and culture.
Though questioning the sufﬁciency of the nation-state as telos of the decolonizing project, Louise Bennett uses poetry to champion Creole as the very tissue of Jamaican cultural identity. And though richly and self-consciously hybridized and cross-national in its origins and its effects, Yeats’s poetry also labors to rename and remythologize a nation emerging from colonial rule. 49 Brathwaite’s poetics is centered in the Caribbean, Okot’s in East Africa, Yeats’s in Ireland, at the same time that these and other poets also participate through poetic, ideological, and other global circuits in transnational imaginaries.
A Transnational Poetics by Jahan Ramazani