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ACKNOWLEDGEMENTS
PERMISSIONS
1.
John Williams: British Poetry Since 1945
‘From the Frontier of Writing’ in
Haw lantern
© Seamus Heaney
Published by Faber and Faber, 1987
Used by permission in the US of Farrar, Straus and Giroux, Inc.
‘The Badger’ in
Fieldwork
© Seamus Heaney
Published by Faber and Faber, 1979
Used by permission in the US of Farrar, Straus and Giroux, Inc.
‘Dockery and Son’ and ‘Love Again’ in
Collected Poems
© Phillip Larkin
Published by Faber and Faber, 1988
‘Saint’s Island’ in
Flowers and Insects
© Ted Hughes
Published by Faber and Faber, 1986
Reprinted in the US by permission of Harper and Row
‘The Clever Garden’
© George Macbeth
Published by Martin Seeker and Warburg
‘Rage for Order’ in
Poems 1962–1978
by Derek Mahon
OUP 1979
‘Christophorus’ by Mary Casey
xiii
ACKNOWLEDGEMENTS
© Gerard Casey
Enitharnon Press, 1981
‘The Welsh Hill Country’ in
Selected Poems
by R.S.Thomas
© Gwydion Thomas
Published by Bloodaxe Books, 1986
Selected Poems
by Tony Harrison
© Tony Harrison
Published by Penguin, 1987
Selected Poems
by Carol Rumens
© Carol Rumens
Published by Chatto and Windus, 1987
The Memory of War
by James Fenton
Reprinted by permission of Peters Fraser and Dunlop Group Ltd
Published by Penguin Books
Collected Poems
by Geoffrey Hill
Reprinted by permission of Andre Deutsch
Ariel
by Sylvia Plath
© Ted Hughes
Reprinted by permission
Reprinted in the US by permission of Harper and Row
Published by Faber and Faber, London
2.
Thomas Gardner: Contemporary American Poetry
‘North American Sequence’, ‘Meditation at Oyster Bay’ and ‘The Rose’ in
Collected Poems
1966 by Theodore Roetke
Used by permission of Doubleday, a division of Bantam, Doubleday, Dell
Publishing Group Inc.
© 1962 by Beatrice Roetke, Administratrix of the estate
© 1960 (as above)
© 1963 (as above)
respectively.
Published in the US by permission of Faber and Faber
‘To a Friend Going Blind’ and ‘Patience’ in
Erosion
by Jorie Graham.
© Princetown University Press, 1983
‘At the Fishouses’ in
The Complete Poems
1927–1979 by Elizabeth Bishop.
xiv
ACKNOWLEDGEMENTS
© 1947 by Elizabeth Bishop.
Renewal copyright © by Elisabeth Bishop 1974.
Copyright © 1979, 1983 by Alice Helen Methfessel.
Reprinted by permission of Farrar, Straus and Giroux, Inc.
‘At the Loom’ by Robert Duncan in
Bending the Bow
© Robert Duncan 1968
Reprinted by permission of New Directions Publishing Corporation
Fictive Certainties
© Robert Duncan 1985
Reprinted by permission of New Directions Publishing Corporation
3.
Jan Montefiore: Women and the Poetic Tradition
The Complete Poems of Emily Dickinson
Editor: Thomas H.Johnson
© 1929 by Mary Dickinson Bianchi
© renewed 1957 by Mary L.Hampson
Reprinted by permission Of Little, Brown and Company
‘Thoughts drifting through the Fat Black Woman’s head while having a
full bubble bath’ in
The Fat Black Woman’s Poems
by Grace Nichols
© Grace Nichols, 1984
Published by Virago Press, 1984
Collected Poems
E.J.Scovell
Carcanet
Trilogy
by Hilda Doolittle
© 1982 Hilda Doolittle
UK and Commonwealth rights: Carcanet
Reprinted in the US by permission of New Directions Publishing
Corporation
The Fact of a Doorframe Poems Selected and New 1950–1984
by Adrienne
Rich
Reprinted by permission of Adrienne Rich and W.W.Norton and Company,
Inc.
© 1984 by A.Rich
© 1975, 1978, 1981 by A.Rich
Permissions have been sought for all extracts. However, certain copyright
details had not been made available to Routledge at time of going to press.
xv
PREFACE
The aims and intentions of
Literature and Criticism
are probably best described
by an account of the project’s history. Our brief from the publisher was for a
work of reference, covering the field of literary and critical activity now usually
described as ‘English’ or ‘English Literature’. From the earliest stages of
planning, however, we felt that what was needed went beyond a descriptive
guide to authors and texts on conventional lines. The idea began to take
shape of a work that acknowledged both the existence of texts and the
surrounding structure of critical debate. We moved towards a notion of a
reference work which not only covered English literature, but also dealt with
how it has been discussed and how it is being discussed now.
Such a work could not, and should not, aim to be an objective guide. On
the contrary, it was agreed that we should consciously set out to engage scholars
and critics of different persuasions, with the prospect that their varying
perspectives would be reflected in the essays. While subject areas were specified
in general outline, authors were invited to question divisions and propose
their own modifications. Attention was drawn to some of the implications of
our scope (for instance, that essays would need to achieve a balance appropriate
to their subject between ‘literature’ and ‘criticism’). We encouraged writers to
address recent critical and scholarly issues in their field and to indicate where
they felt new ground might be broken.
The Encyclopedia’s sections and an approximate order of subjects were
drafted at an early stage, so that most contributors wrote with an awareness
of the particular context in which their essays would be placed. As new ideas
(and some gaps) came to our attention, a few additional titles were
commissioned; some local changes in order were also made as opportunities
for creating fresh currents and tensions between neighbouring essays became
available. The rationale behind the structure, nevertheless, remains largely
unchanged. The introductory ‘keynote’ essays in Section I, lay out the
xvii
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