This is a clear and incisive account of the Imagists, the first significant group of modernist poets writing in English. This book offers a lively account of the Imagists poets, the first significant group of modernist poets writing in English. It discusses what their writing achieved, and analyses the theoretical claims of Imagism in relation to its poetic practice. It revises the received view of Imagism by drawing upon current re-readings of modernism in terms of gender and sexuality, cultural geography, and the idea of literary institutions and formations. The book shows the variety of practice within the Imagist group, and shifts the focus from seeing Imagism purely as the creation of Ezra Pound, by granting a much stronger focus to often overlooked figures such as Amy Lowell, F.S. Flint and John Gould Fletcher. The book also examines the cultural formation of Imagism as a movement competing within the artistic avant-garde of London in the early twentieth century.
It is suitable for: undergraduates and postgraduates of literature; teachers of poetry, modernism or twentieth century literature; scholars valuing the extensive and up-to-date bibliography; and sixth-form, academic and public libraries. The Imagist Poets are widely studied in FE Colleges and University. This is the only study on the Imagist Poets to be published in 25years. It is up-to-date, compact and tightly focused. It includes a clear and up to date account of a movement considered very important for the history of English poetry and of modernism.
Andrew Thacker is Professor of Twentieth Century Literature at De Montfort University, Leicester. He has taught previously at the University of Wolverhampton and the University of Ulster. Previous Publications include Geographies of Modernism: Literature, Cultures, Spaces (ed. with Peter Brooker), (2005), James Joyce's 'Dubliners': New Casebook, ed. (2005), Moving Through Modernity: Space and Geography in Modernism (2003) and The Impact of Michel Foucault on the Social Sciences and Humanities (ed. with Moya Lloyd), (1997).