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Babel to Byzantium: Poets and Poetry Now

Babel to Byzantium: Poets and Poetry Now

James Dickey
4/5 ( ratings)
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James Dickey's reputation as a critic is based on plain speaking and the lauding of sound, humane, even homey values. His idea of the "suspect" in poetry is roughly equivalent to the notion that modern poetry has become "a complicated but learnable game." "Most of our contemporary poets are writing into a Climate of poetic officialdom. . . based largely on the principles which the New Criticism has espoused. . . . We have lost all sense of personal intimacy between the poet and his reader." This sort of winsome polemic had some relevancy in the Fifties. Poetry today knows no such guidelines or iron-clad rules. Thus, both Dickey's theorizing or individual appraisals of a variety of different poets in this collection of reviews and essays covering the last ten years has about it the peculiar air of combat when the battle appears to be going on elsewhere. Dickey dislikes Ginsberg and Ashbery, as well as Robert Graves that is to say, he condemns both the confessional and experimental, along with the elegant, or what he would call the "autonomous," poem. His admirers praise him for earnestness, lucidity, and critical integrity, and it is true he does have these values. But he is also parochial, unsophisticated, and extremely limited in his literary responses, erudition, and prose style. The best pieces here are the tributes to Roethke, Aiken, Marianne Moore, and the solid analyses of five classics.
Language
English
Pages
302
Format
Paperback
Publisher
The Ecco Press
Release
October 01, 1981
ISBN
0912946865
ISBN 13
9780912946863

Babel to Byzantium: Poets and Poetry Now

James Dickey
4/5 ( ratings)
Read Download
James Dickey's reputation as a critic is based on plain speaking and the lauding of sound, humane, even homey values. His idea of the "suspect" in poetry is roughly equivalent to the notion that modern poetry has become "a complicated but learnable game." "Most of our contemporary poets are writing into a Climate of poetic officialdom. . . based largely on the principles which the New Criticism has espoused. . . . We have lost all sense of personal intimacy between the poet and his reader." This sort of winsome polemic had some relevancy in the Fifties. Poetry today knows no such guidelines or iron-clad rules. Thus, both Dickey's theorizing or individual appraisals of a variety of different poets in this collection of reviews and essays covering the last ten years has about it the peculiar air of combat when the battle appears to be going on elsewhere. Dickey dislikes Ginsberg and Ashbery, as well as Robert Graves that is to say, he condemns both the confessional and experimental, along with the elegant, or what he would call the "autonomous," poem. His admirers praise him for earnestness, lucidity, and critical integrity, and it is true he does have these values. But he is also parochial, unsophisticated, and extremely limited in his literary responses, erudition, and prose style. The best pieces here are the tributes to Roethke, Aiken, Marianne Moore, and the solid analyses of five classics.
Language
English
Pages
302
Format
Paperback
Publisher
The Ecco Press
Release
October 01, 1981
ISBN
0912946865
ISBN 13
9780912946863

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