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the Net of the Stars (1909), Cadences (1915), and Otherworld (1920), and a further twenty-two uncollected or previously unpublished poems, making eighty-five poems in all.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.

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

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.

This impressive volume provides over 1,700 biographical entries on poets writing in English from 1910 to the present day, including T. S. Eliot, Dylan Thomas, and Carol Ann Duffy. Authoritative and accessible, it is a must-have for students of English and creative writing, as well as for anyone with an interest in poetry.

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.

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.

In 'Some Imagist Poets: An Anthology,' readers are presented with a significant collection that encapsulates the essence and diversity of Imagist poetry, a movement known for its clear, concise language and precise imagery. The anthology encompasses a range of literary styles, showcasing the versatility and breadth of the movement. Each poem is a testament to the Imagist principle, offering vivid, sensory experiences crafted with economy and exactness. Standout pieces within the collection serve as exemplars of the Imagists dedication to 'direct treatment of the thing,' whether it is a landscape, a feeling, or an idea. The contributing authorsAmy Lowell, John Gould Fletcher, Richard Aldington, D. H. Lawrence, H. D., and F. S. Flintare pivotal figures in the Imagist movement, each bringing their unique voice and perspective to the collective theme. Their backgrounds, ranging from fervent literary activists to progressive experimenters, converge to present a holistic view of early 20th-century modernism. This anthology aligns with significant historical and cultural shifts, offering insight into the movements adherence to clarity, precision, and the belief in the power of the image. 'Some Imagist Poets: An Anthology' is an indispensable resource for those interested in modernist poetry and the Imagist movement. The collection invites readers to explore a multiplicity of perspectives, themes, and stylistic innovations. It provides a unique educational opportunity to engage with the works of foundational poets, whose contributions have shaped contemporary understandings of poetry's potential. This anthology is not just a reflection of historical literary trends but a dialogue between voices that continue to resonate with relevance and clarity, making it a must-read for scholars and enthusiasts alike.

Robert Duncan’s nine lectures on Charles Olson, delivered intermittently from 1961 to 1983, explore the modernist literary background and influences of Olson’s influential 1950 essay “Projective Verse.” These transcribed talks pay tribute to Olson and expand our knowledge of Duncan’s vision of modernist writing.

This Encyclopedia offers an indispensable reference guide to twentieth-century fiction in the English-language. With nearly 500 contributors and over one million words, it is the most comprehensive and authoritative reference guide to twentieth-century fiction in the English language. Contains over 500 entries of 1000-3000 words written in lucid, jargon-free prose, by an international cast of leading scholars Arranged in three volumes covering British and Irish Fiction, American Fiction, and World Fiction, with each volume edited by a leading scholar in the field Entries cover major writers (such as Saul Bellow, Raymond Chandler, John Steinbeck, Virginia Woolf, A.S. Byatt, Samual Beckett, D.H. Lawrence, Zadie Smith, Salman Rushdie, V.S. Naipaul, Nadine Gordimer, Alice Munro, Chinua Achebe, J.M. Coetzee, and Ngûgî Wa Thiong’o) and their key works Examines the genres and sub-genres of fiction in English across the twentieth century (including crime fiction, Sci-Fi, chick lit, the noir novel, and the avant-garde novel) as well as the major movements, debates, and rubrics within the field, such as censorship, globalization, modernist fiction, fiction and the film industry, and the fiction of migration, diaspora, and exile

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’.