Michael, these remarks don’t seem ‘completely subjective and pointless’ at all, but declare a coherent taste for poetry that has broken free of ‘discursive connection’. Surely, though, Eliot and Pound did a lot of the groundwork for such a break?
Every now and then you can glimpse that possibility with Frost, in ‘For Once, Then, Something’ or that opening of ‘Directive’: ‘Back out of all this now too much for us...’
(Two poems you might have a look at, Luke, and maybe add ‘Home Burial’ for narrative, and ‘Design’ for something else again.)
Anyway, I’m interested that for you at least Frost isn’t at all inimical.
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> On 17 Feb 2018, at 16:36, [log in to unmask] <[log in to unmask]> wrote:
> I basically agree with you Jamie, about Yeats, though some of his later poems seem on the verge of breaking free of clear discursive connection -- Blood and the Moon to give one instance -- the individual sections make sense but there are quite challenging disjunctions between them. It isn't modernism really but there's certainly a mixture of registers.
> I like Frost's poems, even if he was (as that bio claimed) an unamiable guy -- but there's a side of him I think I could relate to. Obviously he didn't give a toss about modernism but I don't see him as an aesthetic enemy. Eliot and Pound aren't poets I like to read at all. It's not just about politics, it's also personality. Nevertheless I can see how great their poetry is, I just don't want it in my life much. These of course are completely subjective and pointless remarks, but hey. As I've said before, Ashbery is when 20th century english-language poetry comes to life, for me.