Imagism was a brief, complex yet influential poetic movement of the early 1900s, a time of reaction against late nineteenth-century poetry which Ezra Pound, one of the key imagist poets, described as ‘a doughy mess of third-hand Keats, Wordsworth ... half-melted, lumpy’. In contrast, imagist poetry, although riddled with conflicting definitions, was broadly characterized by brevity, precision, purity of texture and concentration of meaning: as Pound stated, it should ‘use no superfluous word, no adjective, which does not reveal something ... it does not use images as ornaments. The image itself is the speech’. It was this freshness and directness of approach which means that, as Peter Jones says in his invaluable Introduction, ‘imagistic ideas still lie at the centre of our poetic practice’.

Over 180 well-chosen Imagist gems appear in this tribute to an important and influential poetic movement of the 20th century. Includes short verse by Pound, Lawrence, Hilda Doolittle, Joyce, Stevens, others.

For the first time all the war poems of Richard Aldington have been brought together. This collection is intended to reaffirm Aldington's position as a significant voice in the literature of the First World War.

A clear and incisive account of the Imagists, the first significant group of modernist poets writing in English.

Perhaps best known for her outstanding translation of Sappho, poet Mary Barnard (1909–2001) has until recently received little attention for her own work. In this book, Sarah Barnsley examines Barnard's poetry and poetics in the light of her plentiful correspondence with Ezra Pound, William Carlos Williams, and others. Presenting Barnard as a "late Imagist," Barnsley links Barnard's search for a poetry grounded in native speech to efforts within American modernism for new forms in the American grain. Barnsley finds that where Pound and Williams began the campaign for a modern poetry liberated from the "heave" of the iambic pentameter, Barnard completed it through a "spare but musical" aesthetic derived from her studies of Greek metric and American speech rhythms, channeled through materials drawn direct from the American local. The first book on Barnard, and the first to draw on the Barnard archives at Yale's Beinecke Library, Mary Barnard, American Imagist unearths a fascinating and previously untold chapter of twentieth-century American poetry.

This is the first time that a substantial and representative selection of Flint's poetry has been collected. The Introduction supplies important biographical information, and traces how Flint became involved, along with Ezra Pound, Richard Aldington, and H.D., in the Imagist project. There are sixty-three poems drawn from Flint's three published collections of poetry--In the Net of the Stars (1909), Cadences (1915), and Otherworld (1920), and a further twenty-two uncollected or previously unpublished poems, making eighty-five poems in all. The Introduction also offers a sustained and illuminating discussion of the evolution of Flint's art through three volumes. In addition, there are five appendices, among them Flint's important essays, "Imagisme" and "The History of Imagism." The book seeks to establish Flint as a significant contributor to early Modernist poetry, i.e., Imagism, and to reassess the qualities and achievement of an undeservedly overlooked poet.

William Pratt's The Imagist Poem has been hailed as the most important anthology of Imagist poetry ever published. This third edition features an expanded selection of poems and an updated introduction by the editor, making it an indispensable tool for any student of twentieth century poetry or Modernism. Poets represented include: T. E. Hulme, T. S. Eliot, F. S. Flint, Ezra Pound, James Joyce, H. D., Richard Aldington, William Carlos Williams, Amy Lowell, Carl Sandburg, Marianne Moore, Wallace Stevens, Herbert Read, Adelaide Crapsey, Max Michelson, e. e. cummings, and Archibald MacLeish.

Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 2,0, Christian-Albrechts-University of Kiel (Englisches Seminar), language: English, abstract: Though there was a movement since 1890 that began to break with previous norms, Modernism refers to the modern period from 1910 to 1945. The year 1913 is referred to as the beginning of the age of modernism when the Amory Show took place in New York in March 1913. It was the first large exhibition that showed modern art in the U.S., which was radical art in contrast to American standards. The time of modernism brought about the development of new inventions like radio broadcasting, the rise of motion pictures, mass production and the spread of consumerism, automobiles and aviation. Due to these inventions, the economic, social and political conditions changed and also literature was affected by these changes of society. Modernism as a literary movement caused a fundamental break with traditional modes of western art, concerning religion, social conventions and morality. It is an artistic movement that was characterized by its "sense of engagement with ideas of the 'new'" (Armstrong 2005, 24). This term paper deals with the Imagist movement that came into being in 1912, and which is part of the modernist movement. The term paper further deals with Hilda Doolittle's place within the Imagist movement and her poem Sea Rose.