There is a few connexion
(I just like the manner the English spell it
They’re so smart approximately a few things
most likely smarter as a rule than we are
even supposing there's alleged to be something
we've that they don’'t—'don’t ask me
What it's. . . .)
—John Ashbery, “Tenth Symphony”

Something we've That They Don’t offers quite a few essays at the dating among British and American poetry considering 1925. The essays gathered right here all discover a few element of the wealthy and intricate background of Anglo-American poetic kinfolk of the final seventy years. because the sunrise of Modernism poets both sides of the Atlantic have often encouraged each one other’s advancements, from Frost’s galvanizing recommendation to Edward Thomas to arrange his prose as verse, to Eliot’s and Auden’s huge, immense impact at the poetry in their followed countries (“whichever Auden is,” Eliot as soon as responded while requested if he have been a British or an American poet, “I think, i have to be the other”); from the impression of Charles Olson and different Black Mountain poets on J. H. Prynne and the Cambridge university, to the frequent effect of Frank O'Hara and Robert Lowell on a various variety of latest British poets. Clark and Ford’s examine goals to chart many of the currents of those ever-shifting family members. Poets mentioned in those essays comprise John Ashbery, W. H. Auden, Elizabeth Bishop, T. S. Eliot, Mark Ford, Robert Graves, Thom Gunn, Lee Harwood, Geoffrey Hill, Michael Hofmann, Susan Howe, Robert Lowell, and W. B. Yeats.

“Poetry and sovereignty,” Philip Larkin remarked in an interview of 1982, “are very primitive things”: those essays think of the ways that even likely very “unprimitive” poetries might be visible as reflecting and fascinating with problems with nationwide sovereignty and self-interest, and within the approach they pose a chain of attention-grabbing questions about the nationwide narratives that presently dominate definitions of the British and American poetic traditions.

This cutting edge and fascinating new assortment may be of significant curiosity to scholars and students of British and American poetry and comparative literature.

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