By Alan Filreis
Although the antimodernists expressed their disapproval via ideological language, their hatred of experimental poetry was once finally now not political yet aesthetic, Filreis argues. by way of studying correspondence, interpreting pseudonyms, drawing new connections during the documents, and engaging in interviews, Filreis indicates that an off-the-cuff community of antimodernists was once potent in suppressing or distorting the postwar careers of many poets whose paintings had seemed frequently within the Nineteen Thirties. Insofar as modernism had consorted with radicalism within the crimson Decade, antimodernists within the Nineteen Fifties labored to sever these connections, fantasized a proper and unpolitical pre-Depression excessive sleek second, and assiduously sought to de-radicalize the remnant avant-garde. Filreis's research offers new perception into why experimental poetry has aroused such worry and alarm between American conservatives.
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Counter-revolution of the Word: The Conservative Attack on Modern Poetry, 1945-1960 by Alan Filreis
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