By Harold Bloom
- Brings jointly the easiest feedback at the most generally learn poets, novelists, and playwrights - offers complicated serious pix of the main influential writers within the English-speaking world--from the English medievalists to modern writers - Introductory essay by way of Harold Bloom
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10. Mootry and Smith, p. 60. 11. Kent, pg. 180ff. 1 Rather than one full-length Prelude-like account, Olds offers snapshots, literally dozens of short poems, a few which metaphorically delineate the father damaging the family structure, and others which narrate in specific detail the father’s brutal presence. ” In “The Victims” (included in DL), an abusive father is kicked out of the house, divorced by his wife, and fired from his job. And in “The Race” the adult speaker narrates a wild—nearly out of breath—dash through an airport to board a plane in order to cross the continent and arrive at her dying father’s bedside.
McEwen, Christian. ” Rev. of The Gold Cell, by Sharon Olds. The Nation 11 April 1987: 472–475. Olds, Sharon. The Dead and the Living. New York: Knopf, 1984. The Gold Cell. New York: Knopf, 1989. The Father. New York: Knopf, 1992. ” The New Yorker 2 April 1990: 48. Satan Says. University of Pittsburgh Press, 1980. HELEN VENDLER Rita Dove: Identity Markers A primary imaginative donnée for the black poet Rita Dove—as for any other black poet in America—has to be the fact of blackness. Since we have not yet become a color-blind country, any black writer must confront, as an adult, the enraging fact that the inescapable social accusation of blackness becomes, too early for the child to resist it, a strong element of inner self-definition.
Hughes’s most candid social portraits of Harlem were, until recently, censored from mainstream anthologies, black and white alike, in favor of his more idealistic and mournful work; but, as we can now see more clearly, Hughes’s poetic practice of social portraiture was one almost From Callaloo 17, no. 2 (Spring 1994): 381–98. Copyright © 1994 by Callaloo. 39 40 Helen Vendler entirely unrestricted, imaginatively speaking. But this wonderfully inclusive inventory was restricted in another way: lexically and syntactically, it limited itself to language that the most uneducated person could hear and understand.