A New Theory for American Poetry: Democracy, the by Angus Fletcher

By Angus Fletcher

Amid gloomy forecasts of the decline of the arts and the loss of life of poetry, Angus Fletcher, a smart and committed literary voice, sounds a be aware of robust, tempered optimism. He lays out a clean method of American poetry at huge, the 1st in numerous many years, expounding a security of the paintings that would resonate good into the hot century. Breaking with the drained behavior of treating American poets because the satisfied or rebellious youngsters of ecu romanticism, Fletcher uncovers a different lineage for American poetry. His aspect of departure is the interesting English author, John Clare; he then facilities at the extensively American imaginative and prescient expressed by means of Emerson and Walt Whitman. With Whitman this e-book insists that "the complete idea and nature of poetry" wishes notion from technology whether it is to accomplish a very democratic vista. Drawing variously on Complexity idea and on basics of paintings and grammar, Fletcher argues that our most interesting poetry is nature-based, environmentally formed, and descriptive in objective, allowing poets like John Ashbery and different contemporaries to find a mysterious pragmatism. severe, resonant, and deeply literary, this account of an American poetics indicates how ultra-modern consumerist and conformist tradition subverts the mind's eye of a unfastened humans. whereas centering on American imaginative and prescient, the argument extends our horizon, extraordinary a blow opposed to all economically sanctioned assaults upon the finer, more desirable human capacities. Poetry, the writer continues, is crucial to any coherent imaginative and prescient of lifestyles. (20040125)

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One might think such descriptive extensions of immediate material acquaintance would be the only way knowledge can be abstract, but Russell held (with others) that one might be “directly” acquainted with highly abstract ideas, as in mathematics. Philosophers, including Russell himself, found                          there were logical difficulties with his theory, but at least from the layman’s viewpoint it captures a profound and familiar human experience: the movement of mind into what seems its natural use of sense-data, namely a developing grasp of the field in which, broadly, our sense-data and our experience play a large role in the construction of our understanding of the world.

Mimesis thus retains a kind of vertical mobility, never necessarily rejecting the claims of the environment. ”                          3 Description Description appears to be the humblest of intelligent symbolic acts, yet, because it is so common, its possible range eludes us. ” Immediately, this last etcetera grabs our attention; it is the key to our difficulty, since there may be an infinite number of characteristic features denoting any class, sort, or type of object to be described.

The One is of course another name for what most people loosely and uncritically call God. That fact alone is sufficient to alienate the poet who, if he or she does not precisely rival a divine creative power, is alerted by the mere condition of art and craft to understand that the One, to be a sort of Godhead, must cease to                          be a term or sign. But then Godhead seems to abolish the possibility of its own ceasing to be. The poet of change generally stays more alert than the average person to C.

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