What if the religious themes and allusions in modernist poetry are not just metaphors? Following the religious turn in other disciplines, literary critics have emphasized how modernists like Woolf and Joyce were haunted by Christianity’s cultural traces despite their own lack of belief. In Poetry and Theology in the Modernist Period, Anthony Domestico takes a different tack, arguing that modern poets such as T. S. Eliot, W. H. Auden, and David Jones were interested not just in the aesthetic or social implications of religious experience but also in the philosophically rigorous, dogmatic vision put forward by contemporary theology. These poets took seriously the truth claims of Christian theology: for them, religion involved intellectual and emotional assent, doctrinal articulation, and ritual practice. Domestico reveals how an important strand of modern poetry actually understood itself in and through the central theological questions of the modernist era: What is transcendence, and how can we think and write about it? What is the sacramental act, and how does its wedding of the immanent and the transcendent inform the poetic act? How can we relate kairos (holy time) to chronos (clock time)? Seeking answers to these complex questions, Domestico examines both modernist institutions (the Criterion) and specific works of modern poetry (Eliot’s Four Quartets and Jones’s The Anathemata). The book also traces the contours of what it dubs “theological modernism”: a body of poetry that is both theological and modernist. In doing so, this book offers a new literary history of the modernist period, one that attends both to the material circulation of texts and to the broader intellectual currents of the time.
What if the religious themes and allusions in modernist poetry are not just metaphors? Following the religious turn in other disciplines, literary critics have emphasized how modernists like Woolf and Joyce were haunted by Christianity’s cultural traces despite their own lack of belief. In Poetry and Theology in the Modernist Period, Anthony Domestico takes a different tack, arguing that modern poets such as T. S. Eliot, W. H. Auden, and David Jones were interested not just in the aesthetic or social implications of religious experience but also in the philosophically rigorous, dogmatic vision put forward by contemporary theology. These poets took seriously the truth claims of Christian theology: for them, religion involved intellectual and emotional assent, doctrinal articulation, and ritual practice. Domestico reveals how an important strand of modern poetry actually understood itself in and through the central theological questions of the modernist era: What is transcendence, and how can we think and write about it? What is the sacramental act, and how does its wedding of the immanent and the transcendent inform the poetic act? How can we relate kairos (holy time) to chronos (clock time)? Seeking answers to these complex questions, Domestico examines both modernist institutions (the Criterion) and specific works of modern poetry (Eliot’s Four Quartets and Jones’s The Anathemata). The book also traces the contours of what it dubs “theological modernism”: a body of poetry that is both theological and modernist. In doing so, this book offers a new literary history of the modernist period, one that attends both to the material circulation of texts and to the broader intellectual currents of the time.
Italian poet, novelist, literary critic and translator Cesare Pavese (1908-1950) is generally recognized as one of the most important writers of his period. Between the years 1929 and 1933, Pavese enjoyed a rich correspondence with his Italian American friend, the musician and educator Antonio Chiuminatto (1904-1973). The nature of this correspondence is primarily related to Pavese's thirst to learn about American culture, its latest books, its most significant contemporary writers, as well as its slang. This volume presents an annotated edition of Pavese and Chiminatto's complete epistolary exchange. Mark Pietralunga's brilliant introduction provides historical and cultural context for the letters and traces Pavese's early development as a leading Americanist and translator. The volume also includes an appendix of Chiuminatto's detailed annotations and thorough explanations of colloquial American terms and slang, drawn from the works of Sinclair Lewis, Sherwood Anderson, and William Faulkner. A lively and illuminating exchange, this collection ultimately corroborates critical opinion that America was the igniting spark of Pavese's literary beginnings as a writer and translator.
The only difference was that he was HERE first and then travelled THERE; he was unaware of the change. What began as a pleasant journey ended up with him meeting her; she offered him to spend the night, which he did, only to be found in the same position in a cemetery as he was sleeping close to her; this time he was next to her grave. In vain, he wandered about looking for her. He eventually lost his senses and life, only to join her in eternal sleep. A storey about terror, murder, haunting, and strange encounters, among other things.
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