Carruth is among the very few indispensable poets of the second half of the 20th century. He brings the Modernism of Pound & Eliot into a specifically American context, shedding the reactionary politics of the modernists in the process. In fact, Carruth is a Yankee Anarchist. He has also mastered & incorporated the Tradition of the modernists without reifying it. At the same time, he brings the demotic poetry of jazz & the blues into the art without condescending to it.
In light of Carruth’s importance to American poetry & to my own sensibility, I am initiating with this entry a weekly feature. For the next year I will discuss a particular poem or essay of Carruth’s, reproducing as much as is practical & legal. I’ll try to post something in the Carruth Series every Wednesday, but knowing my erratic ways, I’ll be lucky to get something up once a week on any day. My first post in the series follows.
Update: Now that Languagehat has soread my announcement far & wide, I guess I’ll have to get serious. I have begun the first post in the series, which I’ll post Sunday, Monday at the latest, on the connection Carruth makes between jazz & poetry.
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