... and Wallace Stevens, have accounted for approximately (allowing for multiple-author studies) three books per year; Robert Frost was the subject of two books per year, and Marianne Moore, H.D., and W. H. Auden one book. This year is unusual because there is no book from an American publisher exclusively...

... almost as much pressure on the idea of the exclusively modern as it does on the uniquely Ameri- can. While 2005 offers, perhaps for these reasons, comparatively few single-author studies—albeit some memorable ones on W. H. Auden and Christianity, Wallace Stevens and philosophy, and most surpris...

... of Warren, Tate, and Davidson. Books on Frost’s poetry reread him in context. Even Wallace Stevens is viewed through the critical lens of social and geographical location, and he and Auden are also located within a poststructuralist reading that revises their relationship to culture. While many...

... visual qualities, especially its language. xi W. H. Auden Prose, volume 2: 1939–1948, ed. Edward Mendelson (Faber), the fourth volume in the projected complete edition of Auden’s works, provides glimpses of the various streams of the poet’s thought during a crucial period in his life, the first...

... of the Public Burt uses as the occasion of his essay the post-September 11 popularity of Auden’s poem, which seemed to serve as public consolation in the immediate aftermath of the attacks on the World Trade Center. In the context of much current criticism that emphasizes the political and social dimensions...

... Page’s piece discussed above, features contribu- tions by Jo Shapcott and other poets along with essays by academic critics. British-based American-born poet Michael Donaghy in ‘‘The Exile’s Accent’’ (pp. 119–22) draws attention to Auden’s importance to Bishop, which is reflected...

... concentrate mainly on poets who fall outside the purview of this essay, both touch on the subject of W. H. Auden’s politics. In ‘‘Poetry and Politics’’ (pp. 51–63) Reed Way Dasenbrock argues that Auden and his ‘‘gang,’ ’ unlike Yeats, were unable to reconcile nationalism and their ‘‘revolutionary...

..., and Marianne Moore) to the failure and subsequent renewal of the mod- ernist project (Williams, George Oppen, and Langston Hughes), and concludes with an ultimate “return” to rhetoric (Wallace Stevens and W. H. Auden). With this organizational structure, the volume progresses smoothly from its...

... that take up the perennial topic of poetry and feigning, about which Plato, Sir Philip Sidney, Shake- speare’s Touchstone, Oscar Wilde, W. H. Auden, and numerous others have had their say. Susan B. Rosenbaum’s Professing Sincerity: Poetry, Commercial Culture, and the Crisis in Reading...

... importance but using his remarkable self-confidence to promote what he thought good and to blast what he thought evil. Pound never gave up, never decided as Auden did when he folded his red tent that “poetry makes nothing happen”; Pound “insistently believed that literature had a duty to society...

... the era of the New Critics appear in their role as poets: Robert Penn Warren in a study of his romanticism and Yvor Winters in a new book of selected poems. Scholars show their continuing interest in Claude McKay, Mina Loy, William Carlos Williams, W. H. Auden, and Hart Crane in multiple...

... by Ellison, ‘‘Deep Second as well as passing reference to W. H. Auden, Langston Hughes, Ezra Pound, The- odore Roethke, Gertrude Stein, Allen Tate, and others; an ongoing dis- cussion of the nature of jazz and its relationship to writing also weaves throughout the letters. The Last Letters: William...

...’’ in its moral tenor, Goethe’s Faust is ‘‘more universalized than individual’’ and is ‘‘more spirit-inundated Eliot’s admiration of Goethe came later in life but was genuine. In ‘‘The Prophets: Auden on Yeats and Eliot’’ (YER 16, iii: 31–44) Anne Margaret Daniel examines Auden’s complex responses...

.... Was this Elizabeth Bishop a hitherto unknown young poet who happened to have the same name as the poet who died in 1979? Had Elizabeth Bishop been in touch with Quinn from beyond, like Auden with James Merrill at his Ouija board? Then there is the mat- ter of Quinn’s title, borrowed from one of the poems...

... reasons both writers were exiles, ‘‘superfluous men’’ whose sadness is projected in their narratives. In ‘‘Collaborations: Henry James and the Poet-Critics’’ (HJR 23: 283– 93) Adam Parkes reviews appreciations by T. S. Eliot, Ezra Pound, W. H. Auden, and R. P. Blackmur. Auden is notable for linking...

... that some of the original Scrutiny group began to dissent from Leavis’s line and began to write for the Criterion. Another literary journal, New Verse, began publication in 1933, edited by Geo√rey Grigson, who was, as Harding shows, ‘‘a combative and contro- versial editor Grigson championed W. H. Auden...

... of others” and a “sense of empathy and acceptance of others” that tran- scended cultural, ethnic, gender, and historical boundaries. Jarrell’s 1942 essay “The End of the Line” declared the passing of modernism and hailed the advent of “post- or anti-modernist poetry.” Auden’s poetry remained...

...—and, consequently, to reconfigure poetry into inquiry.” Brad Buckwell covers the impact of music on poetry, exploring poetry’s aspi- ration to become like music (“Music,” pp. 42–57). He offers an absorbing examination of opera in relation to W. H. Auden and Louis Zukofsky, but there is no word on jazz...

... Lands: Dark Pastoral in T. S. Eliot, W. H. Auden, and Djuna Barnes explores modernist uses of the pastoral, which emphasize the limitations of human control. World War I caused a crisis in the pastoral mode, exemplified by Eliot s presentation of decay and destruction in The Waste Land. Land...

... syntax,” and traditionally invested with a reputation for truthfulness, was seized in new and unique ways, first by Wordsworth and then by the post- Romantics, notably Yeats, Eliot, and Auden. With this focus Rosen aims to diagnose “the hidden motives and justifications...