Form and Modernity in Women’s Poetry, 1895–1922
A Line of Her Own
Series: Among the Victorians and Modernists;
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Product details:
- Edition number 1
- Publisher Routledge
- Date of Publication 26 June 2025
- ISBN 9781032348698
- Binding Paperback
- No. of pages240 pages
- Size 229x152 mm
- Weight 440 g
- Language English 673
Categories
Short description:
This book shows that traditional forms played a vital role in shaping mature women poets’ responses to modernity, illuminating debates about form, tradition, and gender in twentieth-century poetry.
MoreLong description:
While W. B. Yeats’s influential account of the ‘Tragic Generation’ claims that most fin-de-siècle poets died, or at least stopped writing, shortly after 1900, this book explodes this narrative by attending to the twentieth-century poetry produced by women poets Alice Meynell, Michael Field (Katharine Bradley and Edith Cooper), Dollie Radford, and Katharine Tynan. While primarily associated with the late nineteenth century, these poets were active in the twentieth century, but their later writing is overlooked in modernist-dominated studies, partly due to this poetry’s adherence to traditional form. This book reveals that these poets, far from being irrelevant to modernity, used these established forms to address contemporary concerns, including suffrage, sexuality, motherhood, and the First World War. The chapters focus on Meynell’s manipulations of metre to contemplate temporality and literary tradition; Michael Field’s use of blank verse to portray the conflicted modern woman; Radford’s adaptation of the aesthetic song-like lyric to tackle the experience of the city, urban crime, and suffrage; and Tynan’s employment of the ballad to soothe bereaved mothers during the First World War. This book ultimately shows that traditional forms played a vital role in shaping mature women poets’ responses to modernity, illuminating debates about form, tradition, and gender in twentieth-century poetry.
MoreTable of Contents:
Introduction
Chapter One: “Trysts with Time”: Alice Meynell, Metre and the Temporalities of Modern Poetry
Chapter Two: “Women are ever captive”: Michael Field and Twentieth-Century Verse Drama
Chapter Three: “The snatch of a song that is sung”: Dollie Radford’s Lyrics of Modernity
Chapter Four: “I am the pillars of the house”: Katharine Tynan’s Fortifying Ballads
Conclusion: A Line of Her Own
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