Cover -- Title page -- Copyright page -- Contents -- Notes on Contributors -- Introduction -- 1: Rhythm, Form, and Diction in Modernist Poetry -- Breaking the Pentameter, and Other Myths -- Modern Metrical Practices -- Reading Modern Rhythms -- "Inane phraseology" -- Modernity and the Inexplicable -- References and Further Reading -- Part I: Influences and Institutions -- 2: Urbanism -- References and Further Reading -- 3: The Visual Arts -- Shared Functions -- Shared Techniques -- References and Further Reading -- 4: Music -- References and Further Reading -- 5: Fiction -- References and Further Reading -- 6: Science and Technology -- References and Further Reading -- 7: Popular Culture -- References and Further Reading -- 8: Religion: Orthodoxies and Alternatives -- References and Further Reading -- 9: Politics -- Language -- Social Practice -- Culture -- References and Further Reading -- 10: War and Empire -- Yeats and the Celtic Alternative -- Pound and the Roman Precedent -- Eliot and the Contemporary Moment -- References and Further Reading -- 11: Psychology and Sexuality -- The New Matrix of Psychology and Sexuality -- "Do I dare to eat a peach?": Sexuality and Literature -- Sex Leaves the Private Sphere -- Freud and the New Psychology -- Modernist Literary Psychologies -- References and Further Reading -- 12: Symbolism and Decadence -- References and Further Reading -- 13: The European Avant-Garde -- Symbolism and After -- Futurism and Cubo-Futurism -- Expressionism and Dadaism -- Surrealism -- References and Further Reading -- 14: Little Magazines -- The Little Magazine and the Making of New Artistic Forms -- Definitions -- Places for Poetry -- 1910s: New Forms, Modern Themes -- 1920s: Consolidating Modernist Aesthetics -- 1930s: Reaffirming Political Commitments -- 1940s: Modernist Poetry Enters the University.

New Technologies and New Genres -- References and Further Reading -- 15: Modernist Criticism -- Varieties of Modernist Criticism -- Metacriticism and Tradition -- Pound, Imagism, Lawrence, and the Question of Free Verse -- Eliot: Impersonality and Transmutation -- Modernist Criticism in the Academy -- Modernist Dissensions and Romantic Debts -- References and Further Reading -- Part II: Groups and Groupings -- 16: The Georgian Poets and the Genteel Tradition -- The "Genteel Tradition" -- "Georgian" Poetry -- References and Further Reading -- 17: The New Poetry -- The Door Opens -- A Poetics of Modernity -- References and Further Reading -- 18: Poetry of the Great War -- References and Further Reading -- 19: The Harlem Renaissance -- References and Further Reading -- 20: The Fugitives -- References and Further Reading -- 21: Modernist Women Poets -- References and Further Reading -- 22: Left Poetry -- References and Further Reading -- 23: Objectivism -- References and Further Reading -- 24: World Modernist Poetry in English -- References and Further Reading -- 25: Modernism: The Next Generation -- References and Further Reading -- Part III: Poets -- 26: Thomas Hardy -- Language and Modernity -- Abstraction and Incompleteness -- Human Shows and Modernism -- References and Further Reading -- 27: W. B. Yeats -- References -- 28: Gertrude Stein -- References and Further Reading -- 29: Robert Frost -- Among the Modernists -- Language and Sound -- Skepticism and Metaphysics -- References and Further Reading -- 30: Wallace Stevens -- Harmonium (1923/1931) -- Ideas of Order (1935/1936) -- The Man with the Blue Guitar and Other Poems (1937) -- Parts of a World -- Transport to Summer -- The Auroras of Autumn -- The Rock (1954) and Opus Posthumous (1957) -- References and Further Reading -- 31: Mina Loy -- References and Further Reading.

32: William Carlos Williams -- References -- 33: D. H. Lawrence -- References and Further Reading -- 34: Ezra Pound -- "The Serious Artist" -- "A poem including history" -- "I cannot make it cohere" -- References and Further Reading -- 35: H.D. -- References and Further Reading -- 36: Marianne Moore -- References and Further Reading -- 37: T. S. Eliot -- "Prufrock" -- The Waste Land -- Ash-Wednesday -- Four Quartets -- References and Further Reading -- 38: Claude McKay -- References and Further Reading -- 39: Edna St. Vincent Millay -- References and Further Reading -- 40: Hugh MacDiarmid -- Early Scots Lyrics and A Drunk Man Looks at the Thistle -- Late Poetry in English -- References and Further Reading -- 41: E. E. Cummings -- References and Further Reading -- 42: David Jones -- In Parenthesis -- The Anathemata -- The Sleeping Lord -- References and Further Reading -- 43: Melvin Tolson -- References and Further Reading -- 44: Hart Crane -- Reading Crane -- Major Works -- Crane's Influences -- Crane and Modernism -- Crane's Impact -- References and Further Reading -- 45: Langston Hughes -- Jazzonia: The 1920s -- Too Much of Race: The 1930s -- A Dream Deferred: The 1940s and 1950s -- Hard Words: The 1960s -- References and Further Reading -- 46: W. H. Auden -- Being Absolutely Modern -- Learning to Be Indifferent -- Thinking No Thought But Ours -- References and Further Reading -- Conclusion: Modernist Poetry Today -- 47: Contemporary Critical Trends -- Orientation -- Tactics -- Literal Reading -- Differential Reading -- Radical Reading -- Distant Reading -- Strategies -- The Commitment to Form -- Social Philology and Sound -- Constructivist and Cultural Poetics -- Summation -- References and Further Reading -- Index.