By Alex Latter, Erik Tonning, Matthew Feldman
Despite the brevity of its run and the diminutive dimension of its viewers, The English Intelligencer is a key ebook within the heritage of literary modernism within the British Isles. rising within the mid-1960s from a dissatisfaction with the existing norms of 'Betjeman's England', the younger writers linked to it have been catalysed via the instance of Donald Allen's The New American Poetry as they sought to set up a revitalised modernist poetics.
Late Modernism and The English Intelligencer gives the 1st complete account of the extreme background of this booklet, bringing to mild huge new archival fabric to set up an authoritative contextualisation of its operation and its courting with post-war British poetry. This fabric offers compelling new insights into the paintings of the Intelligencer poets themselves and, extra extensively, the continuing presence of a world poetic modernism as a necessary strength in Britain within the moment 1/2 the 20th century.
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Extra info for Late Modernism and The English Intelligencer: On the Poetics of Community
Example text
The ideologies that underpin their cultural formation around ‘some collective public manifestation’ – in this case, the Intelligencer’s sheets14 2. how the de facto production and circulation of these sheets was implicated in wider social and poetic considerations 3. how these considerations might be recovered through attention to the sheets’ bibliographic and periodical codes15 This chapter will establish the Intelligencer as an originary exchange for the poetry written by those closely associated with it; the significance of this exchange is not limited to the sheets themselves, but extends out into the personal correspondences that contextualize it, so that the Intelligencer is read not as a fixed point of origin but as a point at which various independent forces come together, instigating a dynamic exchange out of which the Intelligencer emerges: an originary process more analogous to cloud formation than a fountainhead.
T. Prince, W. S. 57 There are moments within its run that explicitly stake a claim in that moment, in its call for submissions to Michael Horowitz’s Children of Albion anthology and the notice it gives in its penultimate issue about the forthcoming anti-war protest in Grosvenor Square. Hutchinson’s publication of The Boy from the Green Cabaret Tells of His Mother deliberately calls attention to its situation in this moment. The book’s production values bear witness to its attempt to position MacSweeney in the popular conception of the 1960s counter-culture: a green and orange psychedelic cover with a portrait of MacSweeney staring moodily into the middle distance.
Aesthetic made work accessible in ways that more conventional publication procedures would have inhibited, since it allowed publication to operate on an economy of scale very different to that which was available through an established publishing house. Consequently, small press and little magazine publishers were able to print work that, by the rationale of a large-scale commercial publisher, would not be economically viable; they were able, in other words, to take greater risks in choosing what they would publish.
