Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter discusses Lawrence’s involvements with and influence on American modernism and the avant-garde. The chapter opens with an assessment of Lawrence’s importance for the Stieglitz circle and ...
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This chapter discusses Lawrence’s involvements with and influence on American modernism and the avant-garde. The chapter opens with an assessment of Lawrence’s importance for the Stieglitz circle and the localizing American aesthetic promoted in the poetry and cultural criticism of William Carlos Williams and Marsden Hartley, and it goes on to analyse Lawrence’s close connection to the place-based modernism of northern New Mexico in the 1920s. The chapter assesses the relationship of Lawrence’s collections Look! We Have Come Through!(1917) and Birds, Beasts and Flowers (1923) to American poetry from Whitman to Williams, comparing the use of the Persephone-myth in Lawrence’s poems and those of his American contemporaries. The chapter also discusses Lawrence’s connections to transatlantic Imagism, via Amy Lowell, H.D., Harriet Monroe, Alice Corbin Henderson, and Mary Austin, and his articulation, in the New Mexico poems of Birds, Beasts and Flowers, of a local poetics of space and place.Less
This chapter discusses Lawrence’s involvements with and influence on American modernism and the avant-garde. The chapter opens with an assessment of Lawrence’s importance for the Stieglitz circle and the localizing American aesthetic promoted in the poetry and cultural criticism of William Carlos Williams and Marsden Hartley, and it goes on to analyse Lawrence’s close connection to the place-based modernism of northern New Mexico in the 1920s. The chapter assesses the relationship of Lawrence’s collections Look! We Have Come Through!(1917) and Birds, Beasts and Flowers (1923) to American poetry from Whitman to Williams, comparing the use of the Persephone-myth in Lawrence’s poems and those of his American contemporaries. The chapter also discusses Lawrence’s connections to transatlantic Imagism, via Amy Lowell, H.D., Harriet Monroe, Alice Corbin Henderson, and Mary Austin, and his articulation, in the New Mexico poems of Birds, Beasts and Flowers, of a local poetics of space and place.
