Laura Riding Jackson And Robert Graves Term paper

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Laura (Riding) Jackson Critical Bibliography
Adams, Barbara. "Laura Riding's Poems: A Double Ripeness." ;Modern Poetry Studies.11 (1982): 189-195. Adams, Barbara, "Laura Riding's Autobiographical Poetry: 'My Muse ...

Having admired (Riding) Jackson's "The Quids" ;published in The Fugitive (1924), Robert Graves began correspondence with her. He subsequently arranged with Virginia and Leonard Woolf's Hogarth Press to publish her first collection of poems, The Close Chapelet (1926). Afterwards she apparently was invited to become Graves' secretary or to collaborate with him on a book about modern poetry. Their thirteen-year relationship (1926-39) was beseiged with the intricacies

On Jackson's Poetry
class="MsoNormal"> style="font-size:12.0pt;mso-bidi-font-size:10.0pt ;font-family:"Times New Roman"">Laura (Riding) Jackson’s poetry and criticism are intricately linked in their inquery into the paradoxical nature of human ...
of their personal, poetical, and professional interconnections.

A Survey of Modernist Poetry (1927)

... Method in poetry is therefore not anything that can be talked about in terms of physical form. The poem is not the paper, not the type, not the spoken syllables. It is as invisible and as inaudible as thought ;and the only method that the real poet is interested in using is one that will present the

Fellow feeling
Fellow feelingLove in a Dark TimeCólm ToibínPicador £16.99, pp279In 1993, Cólm Toibín was asked by an editor of the London Review of Books to write personally and polemically ...
poem without making it either visible or audible, without turning it into a substitute for a picture or for music. But when conservatism of method, through its abuse of slack-minded poets, has come to mean the supplanting of the poem by an exercise in poet-craft, then there is reasonable place for innovation, if the new method defeats the old method and brings up the important question: how should poetry be written? Once this question is asked, the new method has
Louis D. Rubin on "Ode to the Confederate Dead"
align="center">Louis D. Rubin, Jr. SIZE="2"> That poem is 'about' solipsism, a philosophical doctrine which says that we create the world in the act of perceiving it ;or about Narcissism, ...
accomplished its end. Further than this it should not be allowed to go, for poems cannot be written from a formula. The principle value of a new method is that it can act as a strong deterrent against writing in a worn-out style. (p. 21)

. . . . .

It must be admitted that excessive interest in the mere technique of the poem can become morbid both in the poet and the reader, like the composing and solving of cross-word puzzles. Once the sense of a poem with a technical soul, so to speak, is unriddled and its patterms plainly seen, it is not fit for re-reading ;as with the Sphinx in the fable, allowing its riddle to be guessed is equivalent to suicide. A poem of this kind is nevertheless able to stave off death by continually revealing, under examination, an unexpected reserve of new riddles ;and as long as it is able to supply these it can continue to live as a poem. (p. 25)

from Laura Riding and Robert Graves, A Survey of Modernist Poetry, rpt. (St. Claires Shores, MI: Scholarly Press, 1972).

Joyce Piell Wexler

The longest poetic association Riding maintained was her thirteen-year relationship with Robert Graves. Today, her name is usually remembered in this connection. Her friendship with Graves began because they shared an idiosyncratic

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