By Henry Lyman
Robert Frost has lengthy ruled the public's picture of latest England poetry, yet who're the poets who persist with him in time and the way have they expressed their visions of the panorama, the person, and the group? This quantity brings jointly the paintings of thirty uncommon poets to express the energy and diversity of the region's poetic production in the course of a lot of the 20th century.
After Frost is released in organization with the hot England beginning for the arts, which has subsidized a application of interpreting and chat groups with poets around the area utilizing this anthology.
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Extra info for After Frost: an anthology of poetry from New England
For Frost, the road there seems to be one that moves back into the rural past, away from the hustle of urban life, to a place that might once have been, or may never have been at all, except perhaps in poetry and in a past imagined. " What I think he meant by that, and means in the poem, is that when we lose ourselves in poetry we lose our sense of separateness. We leave behind us a world of seemingly separate objects and enter one where things are integrated with each other and with ourselves.
This is the surfeited present, where the details of daily experience overwhelm us. It is the burgeoning commercial civilization spurned by Emerson and Thoreau, and it is today's consumer economy with its glittering overabundance. It is noise. What we drink, as we read, is the very opposite. "Poetry," said Frost to a reporter in 1931, foreshadowing the movement of "Directive," "stands as a reminder of the rural lifeas a resource, a recourse ... " Renewing ourselves, for both Frost and Emerson, as well as Wordsworth, Shelley, and other poets of the Romantic movement, meant first and foremost the renewal of language; and renewing language meant returning to its roots.
The latter, especially, unable to commiserate with his wife over the death of their child, is painfully aware that he is trapped in his own maleness. In these poems and others Frost shows no small compassion for poorer farm women, as well as men, and particularly for their own poignant understanding of how much their lives are determined and restricted. A similar awareness is shown in the shorter, lyric poems whose speaker is observing his or her life and the "I" within it: Page 17 The Road Not Taken Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black.