By Harold Bloom
This quantity gathers jointly what Harold Bloom considers the simplest feedback at the important American girls poets. tested is the paintings of Anne Bradstreet, Emily Dickinson, Gertrude Stein, H.D. (Hilda Doolittle), Marianne Moore, and Louise Bogan. This name, American girls Poets (16501950), a part of Chelsea condominium Publishers’ smooth serious perspectives sequence, examines the foremost works of yankee girls Poets (1650-1950) via full-length severe essays by means of specialist literary critics. moreover, this name encompasses a brief biography on American girls Poets (1650-1950), a chronology of the author’s existence, and an introductory essay written via Harold Bloom, Sterling Professor of the arts, Yale college.
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Additional resources for American Women Poets 1650-1950 (Modern Critical Views)
IV This concept of language as defense, as the only effective weapon in Dickinson’s arsenal, develops into a strongly adversarial kind of poetics. A war rages in these poems, a war within the self for control over the potency of the word. Note the quasi-aggressive intimacy with which Dickinson describes such procedures: The Soul unto itself Is an imperial friend— Or the most agonizing Spy— An Enemy—could send— Secure against its own— No treason it can fear— Itself—it’s Sovreign—of itself The Soul should stand in Awe— (683) The repetition of “it’s” serves to encode the doubling, the turning of self upon soul, the wrestling of intimate yet potentially antithetical identities.
It is to “Vesuvius at home” that Dickinson grants her primary allegiance. All gods or goddesses beyond this mouldering self may receive intermittent recognition, but none earns the devotion Dickinson bestows upon her own power. 38 JOANNE FEIT DIEHL Such allegiance to one’s strength, however, is not free from danger; rather, the stakes for poetic survival increase as trust in all external forms fades before the self-inﬂicting powers of the imagination. The tenuousness of all reality beyond the self, the difficulty of ascertaining any ontological certainty whatsoever—radically modernist dilemma—finally makes her immune to the solace of religious solutions, no matter how subversive.
Here, a text has been interrupted. ” Indeed, such interruption is the poem’s ﬁrst utterance, formally placing its own end before its beginning. The text’s termination is so immediate as to seem to precede its commencement, in a profound temporal inversion. Emily Dickinson: A Voice of War 23 This text takes place in the sphere of human language, which is itself identiﬁed as the poet’s own world—for “Story” here ﬁgures not only as text but as universe and experience within it. This text-as-world could have been—and should have been—realized by the poet’s human power, fulﬁlled within her human world.