By Jahan Ramazani
Poetry is frequently considered as culturally homogeneous—“stubbornly national,” in T. S. Eliot’s word, or “the such a lot provincial of the arts,” based on W. H. Auden. yet in A Transnational Poetics, Jahan Ramazani uncovers the ocean-straddling energies of the poetic imagination—in modernism and the Harlem Renaissance; in post–World battle II North the US and the North Atlantic; and in ethnic American, postcolonial, and black British writing. Cross-cultural trade and impact are, he argues, one of the leader engines of poetic improvement within the 20th- and twenty-first centuries. Reexamining the paintings of a wide range of poets, from Eliot, Yeats, and Langston Hughes to Elizabeth Bishop, Lorna Goodison, and Agha Shahid Ali, Ramazani unearths the various ways that sleek and modern poetry in English overflows nationwide borders and exceeds the scope of nationwide literary paradigms. via various transnational templates—globalization, migration, go back and forth, style, impact, modernity, decolonization, and diaspora—he discovers poetic connection and discussion throughout international locations or even hemispheres. enormously wide-ranging in scope but conscientiously all in favour of details, A Transnational Poetics demonstrates how poetic research can foster an aesthetically attuned transnational literary feedback that's even as alert to modernity’s worldwide .
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81 They differ in their global positionings. Transatlantic and other First World poetic transnationalisms—say, of Euro-American modernism or the avant-garde in the United States, the United Kingdom, Canada, Australia, and New Zealand—traverse less culturally and socially disjunctive spaces than poetic transnationalisms that cross be- Poetry, Modernity, and Globalization 21 tween First and Third worlds, ex-colonizer and ex-colonized. Accordingly, in chapters 5 and 6, distinctions between postcolonial and Western modernist transnationalisms will emerge ever more forcefully.
Comically disordering its numbered sections, wildly shifting from the vatic to the reportorial, disgorging large gobs of quotation, Williams’s prologue to Kora in Hell bristles with excitement over cubist dissections of space and dada experiments in “ready-mades,” such as Marcel Duchamp’s porcelain urinal or Fountain44—European examples of “found” art that would make possible Williams’s “quintessentially American” poetry. Responsive to local or national conditions, modernist imaginings were nevertheless inseparable from modernity’s intensiﬁed global ﬂows.
What I would call the identitarian transnationalism that Ong spotlights merely distends traditional citizenship (ethnos): allegiances are owed to a single, unifying, “imagined community,” albeit spread across the globe. As such, this transnationalist mode is readily adaptable to the disciplinary nationalisms of the humanities: whether Irish or Chinese, Indian or Arab, the diasporic group, though somewhat changed by migration or travel, reproduces and stabilizes itself in circulating across the globe.