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An Introduction to Veronica Forrest-Thomson’s Work

  • Martin Harrison
Part of the Language, Discourse, Society book series (LDS)

Abstract

The current situation of modern British poetry had already come into existence by the early 70s when Veronica Forrest-Thomson was writing her book Poetic Artifice. In part, there was and still is a sense of frustration at the lack mainly of critical receptivity to innovation in poetry — the ‘public’, I’d better add, have never had a chance. Equally, there was and still is a retrospective sense of a gaping hole, an inexplicable missing of heart-beat after the modernist and innovative directions which occurred in Britain earlier in the century. The past ten years have, I think, begun to show that this latter impression was significantly wrong in detail, even if all too understandable as an emotive reaction. The hole has, as it were, been filled — the heart was, it seems, beating even if the head chose to ignore it. For there has been a slow increase of recognition (largely among contemporary poets) for the works of Bunting, Prince, Silkin and Graham, a different and more literate appreciation of Plath and McDiarmid and some slight renewal of interest in hitherto lost poets such as Loy, Sykes-Davies and Madge. But the predominance of an essentially upper-middle-class, realist, old-fashioned orthodoxy has yet to be significantly challenged….

Keywords

Poetic Language Creative Innovation Gaping Hole Opposing Figure Modern Poet 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Copyright information

© Palgrave Macmillan, a division of Macmillan Publishers Limited 1992

Authors and Affiliations

  • Martin Harrison

There are no affiliations available

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