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This study examines the work of the principle architects of Anglo-American modernist poetics - T.S. Eliot, H.D., Ezra Pound, Gertrude Stein, Edward Thomas and Wallace Stevens - and their response to the challenge of combatant war poetries. It argues that these civilian poets sought to negotiate directly with the combatant's gnosticism, specifically with the combatant's assertion that only those present at a catastrophe could properly represent its horrors. The modernists rightly identified that gnosticism was a threat to their own representational claims on an increasingly traumatic modernity. How was the imagination to be salvaged in order that it could still feel into the wounded experience of others? In response to this challenge, the modernists drafted their own imagined war poems, developing in the process several different and contradictory poetic systems.

War poetry, English --- War poetry, American --- World War, 1914-1918 --- History and criticism --- Literature and the war --- American war poetry --- American poetry --- English war poetry --- English poetry --- History and criticism. --- Literature and the war.

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Dismantling Glory presents the most personal and powerful words ever written about the horrors of battle, by the very soldiers who put their lives on the line. Focusing on American and English poetry from World War I, World War II, and the Vietnam War, Lorrie Goldensohn, a poet and pacifist, affirms that by and large, twentieth-century war poetry is fundamentally antiwar. She examines the changing nature of the war lyric and takes on the literary thinking of two countries separated by their common language.World War I poets such as Wilfred Owen emphasized the role of soldier as victim. By World War II, however, English and American poets, influenced by the leftist politics of W. H. Auden, tended to indict the whole of society, not just its leaders, for militarism. During the Vietnam War, soldier poets accepted themselves as both victims and perpetrators of war's misdeeds, writing a nontraditional, more personally candid war poetry.The book not only discusses the poetry of trench warfare but also shows how the lives of civilians-women and children in particular-entered a global war poetry dominated by air power, invasion, and occupation. Goldensohn argues that World War II blurred the boundaries between battleground and home front, thus bringing women and civilians into war discourse as never before. She discusses the interplay of fascination and disapproval in the texts of twentieth-century war and notes the way in which homage to war hero and victim contends with revulsion at war's horror and waste.In addition to placing the war lyric in literary and historical context, the book discusses in detail individual poets such as Wilfred Owen, W. H. Auden, Keith Douglas, Randall Jarrell, and a group of poets from the Vietnam War, including W. D. Ehrhart, Bruce Weigl, Yusef Komunyakaa, David Huddle, and Doug Anderson.Dismantling Glory is an original and compelling look at the way twentieth-century war poetry posited new relations between masculinity and war, changed and complicated the representation of war, and expanded the scope of antiwar thinking.

Soldiers' writings, English --- English poetry --- Vietnam War, 1961-1975 --- American poetry --- Soldiers' writings, American --- War and literature --- World War, 1914-1918 --- World War, 1939-1945 --- War poetry, American --- War poetry, English --- History and criticism. --- Literature and the war.

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American literature --- Vietnam War, 1961-1975 --- Littérature américaine --- Guerre du Viêt-nam, 1961-1975 --- History and criticism --- Literature and the conflict --- Histoire et critique --- Littérature et guerre --- -Vietnamese Conflict, 1961-1975 --- -War poetry, American --- -War stories, American --- -American war stories --- American fiction --- American war poetry --- American poetry --- Vietnam Conflict, 1961-1975 --- Vietnamese Conflict, 1961-1975 --- Vietnamese War, 1961-1975 --- English literature --- Agrarians (Group of writers) --- -History and criticism --- Littérature américaine --- Guerre du Viêt-nam, 1961-1975 --- Littérature et guerre --- War poetry, American --- War stories, American --- Literature and the war --- 20th century --- Mailer, Norman --- Criticism and interpretation --- O'Brien, Tim --- Rabe, David William --- Pelfrey, William

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Wallace Stevens the poet and Wallace Stevens the insurance executive: for more than one critical generation it has seemed as if these two men were unacquainted--that Stevens was a poet who existed only in the rarefied world of language. However, the idea that Stevens lived a double life, the author maintains, is misleading. This compelling book uncovers what Stevens liked to think of as his ""ordinary"" life, a life in which the demands of politics, economics, poetry, and everyday distractions coexisted, sometimes peacefully and sometimes not. Examining the full scope of Stevens's career (from

Literature and society --- Political poetry, American --- Social problems in literature. --- War poetry, American --- History --- History and criticism. --- Stevens, Wallace, --- Criticism and interpretation. --- Political and social views. --- Problèmes sociaux dans la littérature --- Social problems in literature --- Sociale problemen in de literatuur --- Stevens, Wallace --- -Social problems in literature --- -Literature and society --- -Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- American war poetry --- American poetry --- American political poetry --- History and criticism --- Social aspects --- -Stevens, Wallace --- -Criticism and interpretation --- Political and social views --- Criticism and interpretation --- Political poetry [American ] --- War poetry [American ] --- Stevens, Wallace (1879-1955) --- Critique et interprétation

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What Americans refer to as the Vietnam War embraces much more than the conflict with North Vietnam. Milton J. Bates considers the other conflicts that Americans brought to that war: the divisions stemming from differences in race, class, sex, generation, and frontier ideology. In exploring the rich vein of writing and film that emerged from the Vietnam War era, he strikingly illuminates how these stories reflect American social crises of the period. Some material examined here is familiar, including the work of Michael Herr, Tim O'Brien, Philip Caputo, Susan Sontag, Francis Ford Coppola, and Oliver Stone. Other material is less well known--Neverlight by Donald Pfarrer and De Mojo Blues by A. R. Flowers, for example. Bates also draws upon an impressive range of secondary readings, from Freud and Marx to Geertz and Jameson. As the products of a culture in conflict, Vietnam memoirs, novels, films, plays, and poems embody a range of political perspectives, not only in their content but also in their structure and rhetoric. In his final chapter Bates outlines a "politico-poetics" of the war story as a genre. Here he gives special attention to our motives--from the deeply personal to the broadly cultural--for telling war stories.

American literature --- Vietnam War, 1961-1975 --- Literature and society --- War stories, American --- War poetry, American --- American Literature --- English --- Languages & Literatures --- Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Vietnamese Conflict, 1961-1975, in motion pictures --- Vietnam Conflict, 1961-1975 --- Vietnamese Conflict, 1961-1975 --- Vietnamese War, 1961-1975 --- English literature --- Agrarians (Group of writers) --- History and criticism --- Literature and the war --- Motion pictures and the war --- History --- Social aspects --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History and criticism. --- Literature and the war. --- Motion pictures and the war. --- 20th century --- Motion pictures and the conflict --- United States --- War stories [American ] --- War poetry [American ]