By Harold Bloom
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Harold Bloom consents with different critics who confer with George Orwell because the better of glossy pamphleteers. learn his paintings with this quantity, together with the widelyread Animal Farm and 1984. This name, George Orwell, a part of Chelsea condominium Publishers’ sleek serious perspectives sequence, examines the main works of George Orwell via full-length serious essays through specialist literary critics.
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Additional info for African-American Poets, Volume 2, New Edition (Bloom's Modern Critical Views)
As in the modernist tradition, Harper relies on juxtaposition and inference History as Moral Ecology in the Poetry of Michael S. Harper 49 rather than rhetoric or narrative, and he demands an extraordinary amount of work from his readers. Indeed, much of the aesthetic body of each poem depends on its relation to other poems and the way a careful and informed reader will see connections and ironies. This technique is often seen as academic, but despite its inter- and intra-textual allusiveness, Harper reminds us that he does not live—or write—in an ivory tower.
26 William J. Harris In fact, the publisher exploits this aspect of Giovanni’s art by giving us a sentimental soft-pink cover featuring a drawing of a dreamy, romantic woman. It’s a Rod McKuen cover. Despite the poem’s sometimes vague language which suggests the conventional popular poem, “Cotton Candy” has serious moments which save it from the world of pop songs and greeting cards. When we look closely at the cotton candy image we see it refers to a world of failed possibility; and the language, at least for a few lines, is stately and expressive of a generation: The sweet soft essence of possibility Never quite maturing A curious aspect of Giovanni’s appeal has little to do with her language per se but with the sensibility she creates on the page.
So many relics, / without the power of // so many relics” (“Portage”). ” Series, tautology, geometric impossibility (that down stays up in the throat; that down migrates from outside to inside) serve to figure forth desire as a kind of polyvalent reliquary, something that achieves its force by virtue of revisitation. The thing itself is not found, not encountered, not sustained: it seems to be that which interposes itself, for both of these poets, in the moment of apprehension and experiential vertigo.