By Alan Filreis
Although the antimodernists expressed their disapproval via ideological language, their hatred of experimental poetry used to be finally no longer political yet aesthetic, Filreis argues. by means of reading correspondence, interpreting pseudonyms, drawing new connections during the records, and accomplishing interviews, Filreis indicates that a casual community of antimodernists was once powerful in suppressing or distorting the postwar careers of many poets whose paintings had seemed usually within the Thirties. Insofar as modernism had consorted with radicalism within the crimson Decade, antimodernists within the Fifties labored to sever these connections, fantasized a proper and unpolitical pre-Depression excessive glossy second, and assiduously sought to de-radicalize the remnant avant-garde. Filreis's research offers new perception into why experimental poetry has aroused such worry and alarm between American conservatives.
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