Cover	1
	Title page	5
	Copyright page	6
	Contents	7
	Notes on Contributors	11
	Introduction	19
	1: Rhythm, Form, and Diction in Modernist Poetry	22
	Breaking the Pentameter, and Other Myths	22
	Modern Metrical Practices	24
	Reading Modern Rhythms	27
	“Inane phraseology”	32
	Modernity and the Inexplicable	34
	References and Further Reading	36
	Part I: Influences and Institutions	22
	2: Urbanism	41
	References and Further Reading	50
	3: The Visual Arts	52
	Shared Functions	55
	Shared Techniques	58
	References and Further Reading	64
	4: Music	65
	References and Further Reading	74
	5: Fiction	76
	References and Further Reading	85
	6: Science and Technology	87
	References and Further Reading	97
	7: Popular Culture	99
	References and Further Reading	111
	8: Religion: Orthodoxies and Alternatives	113
	References and Further Reading	122
	9: Politics	125
	Language	126
	Social Practice	128
	Culture	131
	References and Further Reading	136
	10: War and Empire	137
	Yeats and the Celtic Alternative	139
	Pound and the Roman Precedent	141
	Eliot and the Contemporary Moment	144
	References and Further Reading	149
	11: Psychology and Sexuality	150
	The New Matrix of Psychology and Sexuality	150
	“Do I dare to eat a peach?”: Sexuality and Literature	152
	Sex Leaves the Private Sphere	154
	Freud and the New Psychology	156
	Modernist Literary Psychologies	158
	References and Further Reading	160
	12: Symbolism and Decadence	162
	References and Further Reading	173
	13: The European Avant-Garde	175
	Symbolism and After	175
	Futurism and Cubo-Futurism	179
	Expressionism and Dadaism	181
	Surrealism	185
	References and Further Reading	189
	14: Little Magazines	190
	The Little Magazine and the Making of New Artistic Forms	190
	Definitions	191
	Places for Poetry	193
	1910s: New Forms, Modern Themes	195
	1920s: Consolidating Modernist Aesthetics	197
	1930s: Reaffirming Political Commitments	198
	1940s: Modernist Poetry Enters the University	199
	New Technologies and New Genres	200
	References and Further Reading	201
	15: Modernist Criticism	203
	Varieties of Modernist Criticism	203
	Metacriticism and Tradition	205
	Pound, Imagism, Lawrence, and the Question of Free Verse	206
	Eliot: Impersonality and Transmutation	209
	Modernist Criticism in the Academy	211
	Modernist Dissensions and Romantic Debts	213
	References and Further Reading	214
	Part II: Groups and Groupings	215
	16: The Georgian Poets and the Genteel Tradition	217
	The “Genteel Tradition”	217
	“Georgian” Poetry	221
	References and Further Reading	225
	17: The New Poetry	227
	The Door Opens	228
	A Poetics of Modernity	232
	References and Further Reading	237
	18: Poetry of the Great War	240
	References and Further Reading	250
	19: The Harlem Renaissance	252
	References and Further Reading	263
	20: The Fugitives	264
	References and Further Reading	272
	21: Modernist Women Poets	274
	References and Further Reading	283
	22: Left Poetry	285
	References and Further Reading	297
	23: Objectivism	299
	References and Further Reading	311
	24: World Modernist Poetry in English	314
	References and Further Reading	326
	25: Modernism: The Next Generation	328
	References and Further Reading	339
	Part III: Poets	341
	26: Thomas Hardy	343
	Language and Modernity	344
	Abstraction and Incompleteness	346
	Human Shows and Modernism	348
	References and Further Reading	352
	27: W. B. Yeats	353
	References	365
	28: Gertrude Stein	366
	References and Further Reading	374
	29: Robert Frost	376
	Among the Modernists	376
	Language and Sound	378
	Skepticism and Metaphysics	381
	References and Further Reading	384
	30: Wallace Stevens	385
	Harmonium (1923/1931)	385
	Ideas of Order (1935/1936)	387
	The Man with the Blue Guitar and Other Poems (1937)	389
	Parts of a World	390
	Transport to Summer	392
	The Auroras of Autumn	394
	The Rock (1954) and Opus Posthumous (1957)	395
	References and Further Reading	396
	31: Mina Loy	398
	References and Further Reading	405
	32: William Carlos Williams	407
	References	418
	33: D. H. Lawrence	420
	References and Further Reading	428
	34: Ezra Pound	430
	“The Serious Artist”	430
	“A poem including history”	435
	“I cannot make it cohere”	439
	References and Further Reading	441
	35: H.D.	443
	References and Further Reading	454
	36: Marianne Moore	456
	References and Further Reading	466
	37: T. S. Eliot	468
	“Prufrock”	468
	The Waste Land	471
	Ash-Wednesday	475
	Four Quartets	477
	References and Further Reading	481
	38: Claude McKay	482
	References and Further Reading	490
	39: Edna St. Vincent Millay	492
	References and Further Reading	500
	40: Hugh MacDiarmid	502
	Early Scots Lyrics and A Drunk Man Looks at the Thistle	503
	Late Poetry in English	509
	References and Further Reading	511
	41: E. E. Cummings	512
	References and Further Reading	520
	42: David Jones	523
	In Parenthesis	524
	The Anathemata	526
	The Sleeping Lord	530
	References and Further Reading	532
	43: Melvin Tolson	533
	References and Further Reading	542
	44: Hart Crane	544
	Reading Crane	545
	Major Works	546
	Crane’s Influences	549
	Crane and Modernism	550
	Crane’s Impact	551
	References and Further Reading	552
	45: Langston Hughes	554
	Jazzonia: The 1920s	554
	Too Much of Race: The 1930s	559
	A Dream Deferred: The 1940s and 1950s	563
	Hard Words: The 1960s	567
	References and Further Reading	568
	46: W. H. Auden	569
	Being Absolutely Modern	569
	Learning to Be Indifferent	572
	Thinking No Thought But Ours	576
	References and Further Reading	580
	Conclusion: Modernist Poetry Today	581
	47: Contemporary Critical Trends	583
	Orientation	583
	Tactics	585
	Literal Reading	586
	Differential Reading	586
	Radical Reading	588
	Distant Reading	589
	Strategies	590
	The Commitment to Form	590
	Social Philology and Sound	591
	Constructivist and Cultural Poetics	592
	Summation	593
	References and Further Reading	594
	Index	596