By Harold Bloom
This quantity gathers jointly what Harold Bloom considers the easiest feedback at the important American ladies poets. tested is the paintings of Anne Bradstreet, Emily Dickinson, Gertrude Stein, H.D. (Hilda Doolittle), Marianne Moore, and Louise Bogan. This identify, American ladies Poets (16501950), a part of Chelsea apartment Publishers’ sleek serious perspectives sequence, examines the foremost works of yank girls Poets (1650-1950) via full-length serious essays by way of professional literary critics. additionally, this identify encompasses a brief biography on American ladies Poets (1650-1950), a chronology of the author’s lifestyles, and an introductory essay written by means of Harold Bloom, Sterling Professor of the arts, Yale college.
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Additional info for American Women Poets 1650-1950 (Modern Critical Views)
Yet, she declares, it is the most terrible combat. Invisible and bodiless, it is still the most bloody. In presenting this image of inner strife, however, Dickinson does so in terms provided by the world outside her. The poem was written in 1862: the very period when Antietam and Bull Run had begun to reveal fully the horrors of the Civil War. There are in Dickinson’s opus many poems that register, directly or indirectly, the civil conﬂagration raging around her. The notion that Dickinson’s morbid fear of death and preoccupation with suffering may not have been entirely the product of her own idiosyncratic and more or less pathological imagination has never been considered.
Moreover, because of its position in relation to the sun, one side of Mercury is constantly in light, the other in total darkness. Thus, Mercury could keep its secrets in two senses—as the planet so hard to see from the earth and as one that keeps half its form in constant night. The allusion to the pagan identity of Mercury functions ironically: as the messenger, the one who brings news, Mercury would disclose rather than withhold secret knowledge. In larger terms, two meanings operate antithetically here; the ﬁrst more overt, perhaps, than the second, but both equally sustained through the poem’s syntax and diction, creating an unresolvable tension rather than a resolution of interpretation.
Disjoint, the only parts that can be seen are vengeful, annihilative. In stanza two the speaker is held upside down (“delirious”) just perceptibly by the hem of her clothes, remaining only marginally in existence. What “breaks” in the stanza subsequently are the connections to that existence, and the speaker is delivered from the dream of this death, but delivered into what is unclear. In the next four stanzas, the attempt to recapitulate a story whose meaning the speaker still does not know is laden with confusions of the earlier rendition.
American Women Poets 1650-1950 (Modern Critical Views) by Harold Bloom