By J. McCullagh
Little magazines like Alan Crawley’s modern Verse are the existence blood of literary tradition. they supply an ongoing discussion board during which either good tested and new poets can scan and current their most modern paintings, and it's always with the little magazines, as a result, that litearary swap and oringiality have their beginnings. during this booklet Joan McCullagh exhibits how, among 1941 and 1952, the journal charted the institution of modernism in Canadian poetry through publishing, even sooner than 1947, the most important, such a lot outstanding, and such a lot consultant number of early forties’ poetry within the nation. Her broad citation from the hitherto unbpublished correspondence among Crawley and approximately each significant poet of the 40s additionally indicates how very important and valued a literary impression Crawley himself used to be as a critic and consultant behind the curtain.
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Additional info for Alan Crawley and contemporary verse
On my ripped boots of his blood". . such a cavil but when I am so dependent on my ear for all the poetry I get a harsh unpleasant line does irritate. (UT, nd) 3 Reviewing Now is Time in 1946, Crawley again discussed the sound in Birney's poems. "There is a new power in Mr. Birney's writing. The late poems show this in the smoothness of line from which grit of hard unusual words have been cast out and in the strong noun unpropped by adjective" (17:18). 22 Contemporary Verse "Reading the poems obviously written within the last twenty years I am struck by their vitality and strength, " Crawley wrote referring to the poetry in Gustafson's Anthology of Canadian Poetry (5:16).
Klein, in "Not All the Perfumes of Arabia," and James McDermott, in "As Regards Detonating," all treat the themes of war, man's destructiveness, and his alienation from nature. Other poets examine the depersonalized lives of people in a newly urbanized and industrialized Canada. Anne Marriott attempts to capture the sense of boredom and meaninglessness in "Rest Room," where there is no rest for the "taut clock-watcher": Seeking the clock-face, seeking the stairs, elevator, • Scrambling back to the clock-face, staring To see only a minute has passed while you strained an hour.
The poetry published in the successive issues gains enormously in poise, flexibility, and assurance. Numbers twenty to thirty-nine have greater variety—both in theme and in technique—the verse is of better quality; one senses the victory of new finds. But uneasiness is also evident in some poets, and in others a heaviness as they try to abandon public utterance in favour of more private speech. A few are excessively obscure. Technically, in rhythm, imagery, and verse forms, forties' poetry is notably varied; but a lyric approach, an overriding social concern, and the focus of the war gives it a distinct and recognizable flavour.
Alan Crawley and contemporary verse by J. McCullagh