Modern American Poetry

(^278) Edward Hirsch
history. One of the romantic splendors of their poetry is its persistent
spiritual aspiration in a world resistant and even hostile to that aspiration.
And yet, as Wallace Stevens wrote, “After the final no there comes a yes /
And on that yes the future world depends.”^77
NOTES

1. Quoted in Paul Fussell, The Great War and Modern Memory(New York: Oxford
   University Press, 1975) 325.


2. Peter Faulkner, Modernism(London: Methuen, 1977), 14–15.


3. Selected Prose of T.S. Eliot,ed. Frank Kermode (New York: Harcourt and Farrar,
   1975), 65.


4. Quoted in Gorham Munson, The Awakening Twenties(Baton Rouge: Louisiana
   State University Press, 1985), 291.


5. Frederick Hoffman, The Twenties: American Writing in the Postwar Decade(New
   York: Free Press, 1962), 441.


6. Geoffrey Perrett, America in the Twenties(New York: Simon and Schuster, 1982),
   15–143.


7. Hughes, “The Negro Artist and the Racial Mountain,” in The Black Aesthetic,ed.
   Addison Gayle, Jr. (Garden City, N.Y.: Doubleday, 1972), 172.


8. For a fuller discussion of the black movement, see Timothy Seibles, “A Quilt in
   Shades of Black: The Black Aesthetic in Twentieth-Century African-American Poetry,”
   158–90.


9. Cummings, Poems 1923–1954(New York: Harcourt, 1968), 121; Millay, Collected
   Poems(New York: Harper, 1956), 127.


10. Quoted in Malcolm Cowley, “Fitzgerald: The Romance of Money” (1956), in F.
    Scott Fitzgerald: Modern Critical Views,ed. Harold Bloom (New York: Chelsea, 1985), 53.


11. Civilization in the United States,ed. Harold Stearns (1922; rpt. Carbondale:
    Southern Illinois University Press, 1964), 181.


12. Pound, “Praefatio aut Tumulus Cimicius,” Active Anthology(London: Faber and
    Faber, 1933), 9.


13. Bernard Bergonzi, T.S. Eliot(New York: Macmillan, 1972), 60.


14. Pound, “Harold Monro,” Criterion11, no. 45 (July 1932): 590.


15. Williamson, A Reader’s Guide to T.S. Eliot(New York: Noonday, 1953), 89.


16. Pound, Personae,185, and The Letters of Ezra Pound, 1907–1941,ed. D.D. Paige,
    (New York: Harcourt, 1950), 180.


17. Eliot, The Waste Land: A Facsimile and Transcript of the Original Drafts Including the
    Annotations of Ezra Pound,ed. Valerie Eliot (New York: Harcourt, 1971), 1.


18. Eliot, On Poetry and Poets(New York: Farrar, Straus and Giroux, 1957), 111.


19. Mary Hutchinson interpreted the poem as “Tom’s Autobiography—A Melancholy
    One,” according to The Diary of Virginia Woolf,ed. Anne Olivier Bell (New York:
    Harcourt, 1978), 2:178. For a psychoanalytic reading of the poem, see Harry Trossman,
    “T.S. Eliot and The Waste Land:Psychopathological Antecendents and Transformations,”
    Archives of General Psychiatry30 (May 1974): 709–17, and Ronald Bush, T.S. Eliot: A Study
    in Character and Style,(New York: Oxford University Press, 1983), 68–69.


20. Eliot, “Virgil and the Christian World,” in On Poetry and Poets,137.