Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 42 - Latino Poetry and Poetics

  • from Part IV - Beyond Modernism: American Poetry, 1950–2000
  • Edited by Alfred Bendixen, Princeton University, New Jersey, Stephen Burt, Harvard University, Massachusetts
  • Book:
    The Cambridge History of American Poetry
    Published online:
    05 December 2014
    Print publication:
    27 October 2014, pp 959-977

  • Summary

    If critics declare that a particular poet is affiliated with or has been influenced by the New York School, their auditors are sure to nod knowingly. Significantly, these New York School scions need not live in the five boroughs, nor even be American by birth or residence. They are implicitly credited with inheriting a bundle of traits identified closely with one or more precursors. Their most frequently pursued ekphrastic strategy is probably homology, the attempt to coax language to approximate what visual artists can achieve in their own media of choice. The modulations of tone in New York School poetry tend to vexing dilemmas instead of offering resolutions. Audiences are encouraged to speculate how and whether a poem might obliquely address the relevant issues, but in the end there might be no answer, or only a provisional one. Guest's verse is marked by a turn toward the ethereal and the fantastic.