AMY CLAMPITTPhoto © Nancy Cramptonschools, Donald Allen includes afifth group he cannot definebeca<strong>us</strong>e it has no clear geographicalunderpinning. This vague groupincludes recent movements andexperiments. Chief among theseare surrealism, which expressesthe unconscio<strong>us</strong> through vividdreamlike imagery, and much poetryby women and ethnic minoritiesthat has flourished in recent years.Though superficially distinct, surrealists,feminists, and minoritiesappear to share a sense of alienationfrom mainstream <strong>lit</strong>erature.Although T.S. Eliot, WallaceStevens, and Ezra Pound hadintroduced symbolist techniquesinto American poetry in the1920s, surrealism, the major forcein European poetry and thought inEurope during and after World WarII, did not take root in the UnitedStates. Not until the 1960s did surrealism(along with existentialism)become domesticated in Americaunder the stress of the Vietnamconflict.During the 1960s, many Americanwriters — W.S. Merwin, Robert Bly,Charles Simic, Charles Wright, andMark Strand, among others —turned to French and especiallySpanish surrealism for its pureemotion, its archetypal images, andits models of anti-rational, existentialunrest.Surrealists like Merwin tend tobe epigrammatic, as in lines suchas: “The gods are what has failed tobecome of <strong>us</strong> / If you find you nolonger believe enlarge the temple.”Bly’s po<strong>lit</strong>ical surrealism criticizedvalues that he felt played a partin the Vietnam War in poems like“The Teeth Mother Naked at Last.”It’s beca<strong>us</strong>e we have newpackaging for smokedoystersthat bomb holes appear in therice paddies.The more pervasive surrealistinfluence has been quieter andmore contemplative, like the poemCharles Wright describes in “TheNew Poem” (1973):It will not attend our sorrow.It will not console our children.It will not be able to help <strong>us</strong>.Mark Strand’s surrealism, likeMerwin’s, is often bleak; it speaks ofan extreme deprivation. Now thattraditions, values, and beliefs havefailed him, the poet has nothing buthis own cavelike soul:I have a keyso I open the door and walk in.It is dark and I walk in.It is darker and I walk in.WOMEN POETS ANDFEMINISMLiterature in the United States, asin most other countries, was longevaluated on standards that oftenoverlooked women’s contributions.Yet there are many women poets ofdistinction in American writing. Notall are feminists, nor do their subjectsinvariably voice women’s concerns.Also, regional, po<strong>lit</strong>ical, and89
acial differences have shaped theirwork. Among distinguished womenpoets are Amy Clampitt, Rita Dove,Louise Glück, Jorie Graham, CarolynKizer, Maxine Kumin, DeniseLevertov, Audre Lorde, GjertrudSchnackenberg, May Swenson, andMona Van Duyn.Before the 1960s, most womenpoets had adhered to an androgyno<strong>us</strong>ideal, believing that gendermade no difference in artistic excellence.This gender-blind positionwas, in effect, an early form of feminismthat allowed women to arguefor equal rights. By the late l960s,American women — many active inthe civil rights struggle and protestsagainst the Vietnam conflict, orinfluenced by the counterculture— had begun to recognize theirown marginalization. Betty Friedan’soutspoken The Feminine Mystique(1963), published in the year SylviaPlath committed suicide, decriedwomen’s low stat<strong>us</strong>. Another landmarkbook, Kate Millett’s SexualPo<strong>lit</strong>ics (1969), made a case thatmale writings revealed a pervasivemisogyny, or contempt for women.In the l970s, a second wave offeminist criticism emerged followingthe founding of the NationalOrganization for Women (NOW) inl966. Elaine Showalter’s A Literatureof Their Own (1977) identified amajor tradition of British andAmerican women authors. SandraGilbert and S<strong>us</strong>an Gubar’s TheMadwoman in the Attic (l979)traced misogyny in English classics,exploring its impact on works bywomen, such as Charlotte Brontë’sNIKKI GIOVANNIPhoto © Nancy CramptonJane Eyre. In that novel, a wife is drivenmad by her h<strong>us</strong>band’s ill treatmentand is imprisoned in theattic; Gilbert and Gubar comparewomen’s muffled voices in<strong>lit</strong>erature to this suppressed femalefigure.Feminist critics of the secondwave challenged the accepted canonof great works on the basis that aestheticstandards were not timelessand universal but rather arbitrary,culture bound, and patriarchal.Feminism became in the 1970s a drivingforce for equal rights, not onlyin <strong>lit</strong>erature but in the larger cultureas well. Gilbert and Gubar’s TheNorton Anthology of Literature byWomen (1985) faci<strong>lit</strong>ated the studyof women’s <strong>lit</strong>erature, and awomen’s tradition came into foc<strong>us</strong>.Other influential woman poetsbefore Sylvia Plath and Anne Sextoninclude Amy Lowell (1874-1925),whose works have great sensuo<strong>us</strong>beauty. She edited influential Imagistanthologies and introduced modernFrench poetry and Chinese poetry intranslation to the English-speaking<strong>lit</strong>erary world. Her work celebratedlove, longing, and the spiritualaspect of human and natural beauty.H.D. (1886-1961), a friend of EzraPound and William Carlos Williamswho had been psychoanalyzed bySigmund Freud, wrote crystallinepoems inspired by nature and by theGreek classics and experimentaldrama. Her mystical poetry celebratesgoddesses. The contributionsof Lowell and H.D., and thoseof other women poets of the early20th century such as Edna St.90
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Painting courtesy Smithsonian Insti
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he accepted his lifelong job as a m
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solo trip in 1704 from Boston to Ne
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mon, “Sinners in the Hands of an
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CHAPTER2DEMOCRATIC ORIGINSAND REVOL
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should look out for themselves.Bad
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of a Horse the Rider was lost, bein
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translate Homer. Dwight’s epic wa
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Charles Brockden Brown (1771-1810)A
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CHAPTER3THE ROMANTIC PERIOD,1820-18
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physical self-discovery. For the Ro
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great detail, is a concrete metapho
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Whitman’s voice electrifies evenm
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anti-slavery poems such as“Ichabo
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CHAPTER4THE ROMANTIC PERIOD,1820-18
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ecognition for her Crimes of the He
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Kennedy as an explosion of frustrat
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Coast. Cotton and the plantationcul
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tle, open-ended fiction; recent vol
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nature essayist Rick Bass (1958- ),
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AMY TANPhoto: Associated Press /Gra
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Sherman Alexie (1966- ), aSpokane/C
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tells the story of an illegal immig
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GLOSSARYFaust: A literary character
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GLOSSARYPoet Laureate: An individua
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INDEXBabbitt (Sinclair Lewis) 60, 7
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INDEXCummings, Edward Estlin (e.e.
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INDEXGolden Apples, The (Eudora Wel
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INDEXKumin, Maxine 90, 130Kushner,
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INDEX“Negro Speaks of Rivers, The
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INDEXSeascape (Edward Albee) 117Sea
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INDEXWaiting (Ha Jin) 155Waiting fo
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U.S. DEPARTMENT OF STATE /BUREAU OF