
NOTE
CHAPTER I MODERNIST POETRY AND THE PLAIN READER’S RIGHTS
CHAPTER II THE PROBLEM OF FORM AND SUBJECT-MATTER IN MODERNIST POETRY
CHAPTER III WILLIAM SHAKESPEARE AND E. E. CUMMINGS: A STUDY IN ORIGINAL PUNCTUATION AND SPELLING
CHAPTER IV THE UNPOPULARITY OF MODERNIST POETRY WITH THE PLAIN READER
CHAPTER V MODERNIST POETRY AND DEAD MOVEMENTS
CHAPTER VI THE MAKING OF THE POEM
CHAPTER VII MODERNIST POETRY AND CIVILIZATION
CHAPTER VIII VARIETY IN MODERNIST POETRY
CHAPTER IX THE HUMOROUS ELEMENT IN MODERNIST POETRY
This book opens a thoughtful debate about how modernist poetry reaches—or pushes away—the everyday reader. By starting with the confrontations surrounding E. E. Cummings’s experimental verses, it asks whether avant‑garde techniques are intentional barriers or challenges meant to sharpen a reader’s imagination. The author guides the listener through a careful, step‑by‑step analysis of a seemingly simple Cummings poem, showing how even the most stripped‑down lines can spark fierce controversy.
Beyond that case study, the work surveys a wide range of modernist voices, mapping their differing attitudes toward form, subject‑matter, and the “plain reader’s rights.” It balances scholarly rigor with an accessible tone, inviting anyone curious about why modern poetry sometimes feels like a private performance and how it might instead expand our reading habits. Listeners will come away with fresh tools for appreciating poetry that refuses to stay comfortably familiar.
Language
en
Duration
~6 hours (356K characters)
Release date
Jun 27, 2025
Rights
Public domain in the USA.
1901–1991
A fiercely original modernist poet and thinker, Laura Riding pushed poetry toward questions of truth, language, and identity. Her remarkable career ranged from avant-garde verse and literary criticism to fiction, publishing, and a later rejection of poetry itself.
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1895–1985
A major 20th-century poet and storyteller, Robert Graves drew on the trauma of the First World War, ancient mythology, and classical history to create work of striking imagination and emotional power. He is best known for I, Claudius, Good-Bye to All That, and The White Goddess.
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by Robert Graves

by Robert Graves

by Robert Graves

by Robert Graves

by Robert Graves

by Robert Graves

by Robert Graves

by Robert Graves