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Extra info for On the modernist long poem
Sample text
The originality of The Waste Land, as well as its originary status, inheres in its openness, its receptivity to completion, its tentative structureall properties of its length that plagued Eliot in the writing and inspired his fellow poets to finish the poem in their constructive readings, yet moved them to equal if not quite similar creative difficulties. The history of the Modernist long poem was outlined very early in the initial reactions of Eliot's contemporaries to The Page 19 Waste Land.
It pointed instead to an idea or design that had failed, even when such a design had been nowhere apparent in the narrative of composition or in the actual composition. For example, Pound calls at the end for "A little light, like a rushlight / to lead back to splen- Page 17 dour" (CXVI 797). " (P 222). The splendor grew as the poems grew, and the idealization of form in this splendor forced the poets to devalue the poems they had actually written and to overvalue the dreams with which they thought they had started.
The American Modernists had everything to create in creating the long poem. Such freedom posed certain problems for poets committed to experimental poetry. The public language they needed for the public themes they would address was to be refined by experiments designed to separate the poet's language from the public's. With this uncommon language, the poets had still to discover in the conventional public subjects that they addressedthe city, the myth of America, the local, the "repeat in history"the new subject that would justify the long poem.