The pervasive influence of Wordsworth on British mainstream poetry in the Twentieth Century is undeniable. This influence played a significant role in shaping the linguistic uniformity observed in much of celebrated British poetry of that century, in contrast to the linguistic diversity seen in American poetry during the same period.
In that period, British poetic innovations were mainly adaptations, or “tweaks”, of those that had already been introduced by American High Modernism. One example of this can be seen in the British Poetry Revival of the mid-Twentieth century. It’s members, such such as Dom Sylvester Houédard, Bob Cobbing and others, echoed many of the tendencies found in American High Modernist works.
Another example of a British poetic movement that was derivative of American High Modernism is what is often termed “British Linguistically-Oriented Poetry”. This was predominant in the 1970s and 1980s, and had many members, including, Bill Griffiths, Tom Raworth and Maggie O’Sullivan. The movement was often celebrated for its innovative approaches to language and form, but was simply an extension of American High Modernism.
Both the British Poetry Revival and British Linguistically-Oriented Poetry were derivative of American High Modernism. Eliot and Pound had already emphasised a heightened awareness of language and a departure from its conventional usage. Similarly, the British Poetry Revival and British Linguistically-Oriented Poetry continued this focus. American High Modernist poets were interested in semiotics and exploring the idea of linguistic signifiers. The British Poetry Revival and British Linguistically-Oriented Poetry continued that project. The use of fragmentation and collage techniques, which were prominent features in American High Modernist poetry, was also used by the British Poetry Revival and British Linguistically-Oriented Poetry
The most that can be said about these two movements, is that their various writing “procedures” (they used this word a lot) were simply continuations of the experimentation introduced by the American High Modernist poets. They introduced no revolutionary break from the poetic traditions set by American High Modernism.
High Modernism was essentially a product of an American sensibility: Eliot, Pound, Williams, Stein and Stevens, all being American-born. The only exception was Joyce, who was Irish—not British. Even before High Modernism, America was leading the way in poetic innovation, with poets like Whitman, Dickinson, Poe, Crane and Hovey. It’s important to emphasise, that Poe’s influence even travelled to French symbolists like Baudelaire, Lautréamont, Rimbaud, Verlaine, Mallarmé and Jarry, and then this influence returned to American modernists, primarily through Stevens.* And such American poetic innovation continued throughout the twentieth century: from Kerouac to Ginsberg to Ashbery to Language Poetry.
Twentieth Century British poetry, conversely, continued in the tradition of Wordsworthian empiricism, antagonistic to any use of a poetic language that basis its effects on aspects other than descriptiveness and anecdotal confession. And the so-called British poetry innovators, were, as we have seen, derivative of American High Modernism.
* My thanks to Jesse Glass for providing the linear taxonomy regarding the Poe-French Symbolist connection.
Here is a pertinent Facebook exchange about this blog post:
Tim Allen:
The problem with this is not just that it’s rather a sweeping statement, but also that from some viewpoints, the opposite could be said. Unless we are just talking about scale, of course. Compared to the US scene, the Brit innovative scene is tiny, but that just reflects the population size. The situation is also made problematic by the importance of ‘influence’. What I mean is, if you say that Brit modernist poets were influenced by things coming out of America, you also have to say that American modernists themselves were being influenced by the same sources. They were not being influenced because they were American; they were being influenced because, like their Brit counterparts, they were the kind of poets who were open to such influences. They were always overwhelmingly outnumbered by fellow Americans who were not influenced, exactly the same with the Brits.
There is also the issue of what actually constitutes ‘high modernism’ as you call it and how that differs from later developments. We could argue about this, but I think the influence on later poets was almost entirely down to Williams and the Objectivists. Even Stein doesn’t really figure much as an influence until much later. Yes, Pound influenced the Objectivists, but Eliot has had almost no influence on any of them. The political distance between left and right is also important here, and behind it all, the prime influence was European anyway, though I admit that a lot of the Brits got that influence filtered through the Americans. I wrote quite a bit back a while ago about the differences between the US work and the Brit, and there are differences, but those differences are not ones of degrees of innovation.
Jeffrey Side:
You say that the size of the British innovative scene compared to the U.S. scene is tiny, but this reflects population size. While population size may influence the scale of artistic movements, my blog post focuses on the nature of innovation rather than sheer quantity. It suggests that British innovation was often derivative of American High Modernism rather than representing a unique departure.
You mention the reciprocal influence between British and American modernist poets, emphasizing that both groups were influenced by each other. My blog post acknowledges influence but argues that British poets tended to follow and adapt innovations introduced by American High Modernism, rather than creating a revolutionary break from those traditions.
You raise the issue of defining “high modernism” and suggest that the influence on later poets was mainly from Williams and the Objectivists, with less impact from Eliot. There might be room for debate on the definition of high modernism, but my blog post argues that British movements like the Poetry Revival and Linguistically-Oriented Poetry were continuations of the experimentation introduced by American High Modernist poets as a whole.
You mention the political distance between left and right and say that the prime influence was European, often filtered through Americans for the British poets. My blog post acknowledges European influence (especially the French one) but argues that the British poets took this influence via Eliot, etc.
You note the differences between U.S. and British poetry and argue that these differences are not necessarily in degrees of innovation. My blog post agrees that there are differences but suggests that British poets were often derivative of American High Modernism, introducing no revolutionary break from those traditions.
Tim Allen:
Sorry, but I just cannot agree with your main points. I certainly do not agree with your statement above that ‘British innovation was often derivative of American High Modernism rather than representing a unique departure’. Some British poetry was influenced by high modernism, but this is not what we are talking about when it comes to the British Poetry Revival, etc. I will try to get back to your other points later – haven’t the time at the moment.
Jeffrey Side:
Why is agreeing with my statement that ‘British innovation was often derivative of American High Modernism rather than representing a unique departure’ difficult for you? Just reading the poetry will reveal the influences it draws on. Indeed, the whole British Poetry Revival project could not have existed without High Modernism, of which it uses all of its techniques.
You say ‘Some British poetry was influenced by high modernism but this is not what we are talking about when it comes to the British Poetry Revival etc.’ Are you suggesting that the British Poetry Revival was not intending to be innovative?
Tim Allen:
Again, I really want to get into this properly but haven’t the time. I know what I mean, but finding a clear way of saying it needs time I haven’t got today. There are some good comments from others above anyway. A part of this is to do with your emphasis on ‘high modernism’. In short, I am saying that the poetry of the British Poetry Revival, etc. did not require ‘high modernism’ as a root. What it did require, to a degree, was cultural osmosis from European (and yes, particularly French) avant and left-field poetry. The sticking point there is how much this was via certain American poets. But once you take it down to that level, it becomes a bit silly to invoke which country they come from. Also, remember there is a tendency for people to forget about Latin America, where modernism developed faster than it did in the North. One other point – I am not trying to defend Brit poetry against American – I really don’t care about that, it’s irrelevant. It’s just that I don’t think what you said is correct.
Jeffrey Side:
You say that the British Poetry Revival ‘did not require high modernism as a root’, yet the work speaks for itself—its “innovations” are homages to High Modernism. You say that the British Poetry Revival required ‘cultural osmosis from European (and yes, particularly French) avant and left-field poetry’, but while this might be correct, it’s not really relevant to my main point: that it was grounded on the principles of American High Modernism. It is that grounding that is the main point, and I ask you to bear this in mind, so that we are not sidetracked. And this grounding addresses your question: ‘The sticking point there is how much this was via certain American poets’. I would say all of the early American High Modernist ones. Maybe later ones did not have an influence, but that is not what I am arguing.
