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By Alan Filreis

through the chilly conflict an not likely coalition of poets, editors, and politicians converged in an try to discredit--if now not destroy--the American modernist avant-garde. Ideologically assorted but prepared to bespeak their hatred of recent poetry during the rhetoric of anticommunism, those "anticommunist antimodernists," as Alan Filreis dubs them, joined institutions reminiscent of the League for Sanity in Poetry to decry the modernist "conspiracy" opposed to shape and language. In Counter-revolution of the Word Filreis narrates the tale of this stream and assesses its influence on American poetry and poetics.

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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