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By Rod Rosenquist

Modernism continues to be deeply hooked up to principles of innovation, and this has created difficulties for successive generations of writers. for instance, how does one create an unique paintings while the 'new' has already been verified, advertised and institutionalised? Rod Rosenquist's examine specializes in the writers and poets who emerged after Modernism's high-water mark 12 months of 1922, within which Ulysses, The Waste Land and the early Cantos have been released. looking to refine our personal realizing of the excessive modernists during the common problems encountered by means of the new release that succeeded them, this research discusses problems with cultural price, the connection of historical past to innovation, and the marketplace for new works in an period already ruled through the likes of Joyce, Eliot and Pound. Containing illuminating examinations of Wyndham Lewis, Laura using and Henry Miller, this learn may be helpful interpreting for these attracted to Modernism and its complex legacy.

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Yet they were not allied quite closely enough during the time Pound was at the height of his cultural power to have their careers made for them. Clearly, this study must be somewhat limited to taking up authors who, while often uncomfortable with the high modernist legacy, still exist very much in the framework of a high cultural modernism. There are many writers not included here who add a great deal of depth to the modernist period but exist somewhat independent of the tradition examined here and therefore cannot be placed in a structure based, as this study is, upon reaction to ascendant modernism.

Late modernists seem to prefer a conception of history not as a series of stages or stepping stones, but as a more fluid development of individual writers in different contexts, as can be seen in Louis Zukofsky’s relationship with Pound in the final chapter of this study. I, too, am guilty at times in the following pages of calling this group ‘the second-generation modernists’ even while this also derives from a formulation of the period inherited from the high modernists. This formulation led some late modernists to actively criticize the high modernists for their fatalism in working with a closed concept of history and progress; others were content simply to exist in and of their time, allowing the forces of history to play themselves out – so long as 30 Modernism, the Market and the Institution of the New they did not have to be involved in the historicizing process, like the high modernists before them.

This is not to suggest that ignoring the ascendant group was impossible, and some would certainly have found it easier to ignore them completely than others, depending on a number of factors – geography, target audience, involvement in literary institutions, even perception of who made up the previous generation and how hegemonic it seemed to them. Yet a large number of modernist latecomers who wrote from a position aware of the high modernist tradition had to choose between either joining the already existing movement, or finding some way to subvert or actively oppose those who had already made their mark, even if neither incorporation nor opposition to the dominant modernists appealed to the new candidate.

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