By Harold Bloom
This quantity gathers jointly what Harold Bloom considers the easiest feedback at the vital 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 ladies Poets (16501950), a part of Chelsea condo Publishers’ sleek serious perspectives sequence, examines the main works of yankee girls Poets (1650-1950) via full-length severe essays through professional literary critics. moreover, this identify encompasses a brief biography on American girls Poets (1650-1950), a chronology of the author’s existence, and an introductory essay written by means of Harold Bloom, Sterling Professor of the arts, Yale college.
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Extra info for American Women Poets 1650-1950 (Modern Critical Views)
Her language, instead, records the converging crises in metaphysics and culture that can be felt in the work 22 SHIRA WOLOSKY of other American writers and that become a profound preoccupation in writers subsequent to her. Dickinson’s work presents with striking force the metaphysical revisions that so characterize modernity, as this is implicated by cultural instability and as this implicates linguistic structures. For the critique of metaphysics announced by Nietzsche has broad implications for language, which itself has a primary function and importance in traditional systems.
How then is it possible to believe that the spirit survives the death of the body? —MARCEL PROUST T he problem of boundaries is integral to some of our most profound concerns. What is the relationship between self and other, interior and exterior, literal and ﬁgural, past and present, time and timelessness? Were they not so crucial these questions would be pedestrian, and indeed how we answer them, whether we are able to answer them, is often an indication of the way in which we lead our lives.
For if the problem Starobinski discusses may be construed as one of constructing boundaries, in Dickinson’s death utterances, on which this chapter will focus, the problem is often one of destroying them. In the following pages, however, we shall see that the relationship between construction and destruction is a complex one—objects slip from one side of a line to another with the ease of a thought falling out of consciousness and rising back into it. And, as with consciousness, whose goal is to enlarge its own area of being, so Representation, Death, and the Problem of Boundary 47 with the life-space occupied by a poem that pushes with all its might against the line of death, in the hopes that it can, by however scant measure, enlarge its territory.