Professional Documents
Culture Documents
1
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
assumed leadership of the movement and from 1915 to 1917 published three
anthologies, all called Some Imagist Poets, but by then Pound had dissociated himself
from imagism, derisively calling it “Amygism”; Pound instead appropriated his imagism
into a new philosophy, vorticism, claiming that “the image is not an idea. It is a radiant
node or cluster; … a VORTEX.”
By 1917, even Lowell began to distance herself from the movement, the tenets of which
eventually became absorbed into the broader modernist movement and continued to
influence poets throughout the twentieth century.
Source: https://www.poets.org/poetsorg/text/brief-guide-imagism
Poems
The Red Wheelbarrow
so much depends
upon
a red wheel
barrow
Source: www.poetryfoundation.org
2
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
Poems
In a Station of the Metro
Poems
Helen
All Greece hates
the still eyes in the white face,
the lustre as of olives
where she stands,
and the white hands.
3
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
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Style
Where some of her notable contemporaries like Robert Lowell and John Berryman
made the intimate details of their personal lives an important part of their poetry, Bishop
avoided this practice altogether. In contrast to this confessional style involving large
amounts of self-exposure, Bishop's style of writing, though it sometimes involved sparse
details from her personal life, was known for its highly detailed, objective, and distant
point of view and for its reticence on the kinds of personal subject matter that the work
of her contemporaries involved. She used discretion when writing about details and
people from her own life. "In the Village", a piece about her childhood and mentally
unstable mother, is written as a third person narrative, and so the reader would only
know of the story's autobiographical origins by knowing about Bishop's childhood.
Bishop did not see herself as a "lesbian poet" or as a "female poet". Because she
refused to have her work published in all-female poetry anthologies, other female poets
involved with the women's movement thought she was hostile towards the movement.
Extremely vulnerable, sensitive, she hid much of her private life. She wanted nothing to
do with anything that seemed to involve the women's movement. She internalized many
of the male attitudes of the day toward women, who were supposed to be attractive,
appealing to men, and not ask for equal pay or a job with benefits." However, this was
not how Bishop necessarily viewed herself. In an interview with The Paris Review from
1978, she said that, despite her insistence on being excluded from female poetry
anthologies, she still considered herself to be "a strong feminist" but that she only
wanted to be judged based on the quality of her writing and not on her gender or sexual
orientation.
Source: Bishop, Elizabeth. "In the Village." Questions of Travel.
4
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
Poems
One Art
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
5
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
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The confessional poets were not merely recording their emotions on paper; craft and
construction were extremely important to their work. While their treatment of the poetic
self may have been groundbreaking and shocking to some readers, these poets
maintained a high level of craftsmanship through their careful attention to and use of
prosody. One of the most well-known poems by a confessional poet is "Daddy" by
Plath. Addressed to her father, the poem contains references to the Holocaust but uses
a sing-song rhythm that echoes the nursery rhymes of childhood:
The confessional poets of the 1950s and 1960s pioneered a type of writing that forever
changed the landscape of American poetry. The tradition of confessional poetry has
been a major influence on generations of writers and continues to this day.
Source: https://www.poets.org/poetsorg/text/brief-guide-confessional-poetry
6
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
Poems
Lament
Someone is dead.
Even the trees know it,
those poor old dancers who come on lewdly,
all pea-green scarfs and spine pole.
I think…
I think I could have stopped it,
if I'd been as firm as a nurse
or noticed the neck of the driver
as he cheated the crosstown lights;
or later in the evening,
if I'd held my napkin over my mouth.
I think I could…
if I'd been different, or wise, or calm,
I think I could have charmed the table,
the stained dish or the hand of the dealer.
But it's done.
It's all used up.
There's no doubt about the trees
spreading their thin feet into the dry grass.
A Canada goose rides up,
spread out like a gray suede shirt,
honking his nose into the March wind.
In the entryway a cat breathes calmly
7
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
Sylvia Plath
Suggested biography: https://www.biography.com/people/sylvia-plath-9442550
Poems
Morning Song
Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.
8
Historia y Literatura Estadounidense –
Prof. Juan Pablo Duboué
Whitens and swallows its dull stars. And now you try
Your handful of notes;
The clear vowels rise like balloons.