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Type of bind: Paperback
Dewey Decimal Number: 811.508
EAN num: 9780072400199
ISBN number: 0072400196
Label: McGraw-Hill Humanities/Social Sciences/Languages
Manufacturer: McGraw-Hill Humanities/Social Sciences/Languages
Quantity: 1
Page Count: 1216
Printing Date: December 26, 2003
Publishing house: McGraw-Hill Humanities/Social Sciences/Languages
Sale Popularity Level: 692639
Studio: McGraw-Hill Humanities/Social Sciences/Languages
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Editor's Notes and Comments:
Product Description:
With the end of the 1900s, the time has come for a thorough assessment of one hundred years of poetry - from the widely acclaimed to the subtly influential - and with an eye to the importance and meaning of poetry in America.
. . Compiled by three poets and poetry scholars - including 2002 American Book Award Winner Dana Gioia - this anthology presents American poetry across the twentieth century from Stephen Crane to Kevin Young. The collected works are arranged according to the major movements in American poetry, offering a valuable teaching resource for American Literature and Poetry courses. .
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Rated by buyers -
Although I agree with some of the earlier reviewer's criticisms--particularly the arbitrary groupings of poets under artificial headings--I generally like the selections in this anthology. I was even more pleased with the companion volume of essays, which are difficult to find gathered together in one place. I wanted very badly to assign these volumes to my American Poetry course...but then I checked the price. Almost $75 for a paperback anthology?! And another $40 for the essay collection! Even the package deal comes in at about $115--for two books. As a faculty member at a large state university catering to a largely working-class student body, I can't, in good conscience, make my students purchase these books--not when I can get the new Oxford Book of American Poetry (which covers more historical ground), in hardback, for under $24. Selected essays, likewise, can be copied and put on electronic reserve at almost no cost. While I appreciate the quality and convenience of volumes like this, I believe that academic publishers can no longer ask faculty and students to foot the bill for outrageous production costs.
Rated by buyers 
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The other reviewer of this particular anthology mentions some poetic giants that have been left out of the anthology, and I agree some of those poets should have been put in this anthology, but that being said, you can't have EVERY major poet put in an anthology, it would just become too large and too cumbersome to publish.
The editors of this collection give reasons in their introduction for why they've left out certain authors. All that being said.
This is a fantastic collection, and for someone who is just learning to appreciate Modern (Capital M) poets, this is a great place to start. Book is organized into specific poetic genre and styles and each work is prefaced with a small biogrpahy of the authors life and their work. I would reccomend it to anyone looking for getting into this particular genre of poetry. Cheers.
Rated by buyers 
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Contemporary poetry's a notoriously fractious field. No one knows that better than Dana Gioia, who's worked hard to make a century of innovation and experiment conform to his idea of poetry as a popular, traditional, metrical art that just needs saving from the eggheads.
Gioia's New Formalist allegiances could have resulted in an interesting anthology, one that leavens the mavericks like Stein, Pound, Williams, etc.--folks in no danger of being erased from the story of Modern American poetry--with worthy figures of a more traditional bent (Weldon Kees, say) who risk being written out because they didn't rock the poetic boat as hard.
But an anthology that excludes key poets like Jack Kerouac, Ted Berrigan, Kenneth Koch, Alice Notley, Charles Bernstein, Bernadette Mayer, Clark Coolidge or Leslie Scalapino while finding room for Billy Collins, Kim Addonizio, Ted Kooser, and Linda Pastan shows that it's missed the main thrust of U.S. poetry over the last half century. The historical overviews add to the confusion by lumping together aesthetic tendencies or movements that have only tenuous connections with one another. The hugely influential poets of the New York School, for instance, get folded into Surrealism and Deep Image poetry under the arbitrary heading "American Internationalism" (when's the last time you heard anyone debating the poetic merits of American Internationalism? Or for that matter talking about Deep Image?), while New Formalism shares pride of place with Language poetry in a section marked simply "Contemporary Voices." That's kind of like shelving Mariah Carey with the Sex Pistols and calling it "Contemporary Pop."
I think the idea is to present American poetry as a chorus of diverse individual voices, relatively untrammeled by theories or schools. The bios that introduce the poets spend a remarkable amount of time talking about their marital status, college degrees, mentors, publication histories, and work life while saying surprisingly little about the roots of their poetics (except in cases where Gioia doesn't like the poetics, in which case he's not above a snarky aside. Re: Ron Silliman--"After high school, his education was sporadic, a curious fact in the life of a poet whose theories seemingly demand an academic audience." Ouch!). But the effect is that all the poets end up sounding about the same--well-educated, more or less married, happy information workers seemingly spit out of identical social backgrounds and winning interchangeable honors (this despite the anthology's scrupulous inclusion of minority voices).
In some ways the anthology reminds me of a more politic and cunning version of Philip Larkin's infamous Oxford Anthology of Twentieth-Century Verse--a conservative stab at reclaiming the twentieth century for the supposedly traditional literary values of craft, polish, formal mastery and judicious introspection. I think the genie's out of the proverbial bottle on this one though. America's grown too shaggy, druggy, political, ornery and just plain weird to quite fit the silhouette Gioia's chalked out for it here. And for anyone who cares about where U.S. poetry might go in the 21st century, that's a very good thing.
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