The poetry of the United States began as a literary art during the colonial era. Unsurprisingly, most of the early poetry written in the colonies and fledgling republic used contemporary British models of poetic form, diction, and theme. However, in the 19th century a distinctive American idiom began to emerge. By the later part of that century, when Walt Whitman was winning an enthusiastic audience abroad, American poets had begun to take their place at the forefront of the English-language avant-garde. This position was sustained into the 20th century to the extent that Ezra Pound and T.S. Eliot were perhaps the most influential English-language poets in the period around World War I. By the 1960s, the young poets of the British Poetry Revival looked to their American contemporaries and predecessors as models for the kind of poetry they wanted to write.
Toward the end of the millennium, consideration of American poetry had diversified, as scholars placed an increased emphasis on poetry by women, African Americans, hispanics and other subcultural groupings. Poetry, and creative writing in general, also tended to become more professionalized with the growth of Creative Writing programs on campuses across the country.
Poetry in the colonies
One of the first recorded poets of the British colonies was Anne Bradstreet (1612–1672), who remains one of the earliest known women poets in English. Her poems are untypically tender evocations of home and family life and of her love for her husband. In marked contrast, Edward Taylor (1645–1729) wrote poems expounding Puritan virtues in a highly wrought metaphysical style that can be seen as typical of the early colonial period. This narrow focus on the Puritan ethic was, understandably, the dominant note of most of the poetry written in the colonies during the 17th and early 18th centuries.
Another distinctly American lyric voice of the colonial period was Phillis Wheatley, a slave whose book Poems on Various Subjects, Religious and Moral, was published in 1773. One of the most well-known poets of her day, at least in the colonies, her poems were typical of New England culture at the time, meditating on religious and classical ideas.
The 18th century saw an increasing emphasis on America as fit subject matter for its poets. This trend is most evident in the works of Philip Freneau (1752–1832), who is also notable for the unusually sympathetic attitude to Native Americans shown in his writings. However, as might be expected from what was essentially provincial writing, this late colonial poetry is generally technically somewhat old-fashioned, deploying the means and methods of Pope and Gray in the era of Blake and Burns.
On the whole, the development of poetry in the American colonies mirrors the development of the colonies themselves. The early poetry is dominated by the need to preserve the integrity of the Puritan ideals that created the settlement in the first place. As the colonists grew in confidence, the poetry they wrote increasingly reflected their drive towards independence. This shift in subject matter was not reflected in the mode of writing which tended to be conservative, to say the least. This can be seen as a product of the physical remove at which American poets operated from the center of English-language poetic developments in London.
The first significant poet of the independent United States was William Cullen Bryant (1794–1878), whose great contribution was to write rhapsodic poems on the grandeur of prairies and forests. Other notable poets to emerge in the early and middle 19th century include Ralph Waldo Emerson (1803–1882), Henry Wadsworth Longfellow (1807–1882), John Greenleaf Whittier (1807–1892), Edgar Allan Poe (1809–1849), Oliver Wendell Holmes (1809–1894), Henry David Thoreau (1817–1862), James Russell Lowell (1819–1891), and Sidney Lanier (1842–1881). As might be expected, the works of these writers are united by a common search for a distinctive American voice to distinguish them from their British counterparts. To this end, they explored the landscape and traditions of their native country as materials for their poetry.
The most significant example of this tendency may be The Song of Hiawatha by Longfellow. This poem uses Native American tales collected by Henry Rowe Schoolcraft, who was superintendent of Indian affairs for Michigan from 1836 to 1841. Longfellow also imitated the meter of the Finnish epic poem Kalevala, possibly to avoid British models. The resulting poem, while a popular success, did not provide a model for future U.S. poets.
Another factor that distinguished these poets from their British contemporaries was the influence of the transcendentalism of the poet/philosophers Emerson and Thoreau. Transcendentalism was the distinctly American strain of the English Romanticism that began with William Wordsworth and Samuel Taylor Coleridge. Emerson, as much as anyone the founder of transcendentalism, had visited England as a young man to meet these two English poets, as well as Thomas Carlyle. While Romanticism mellowed into Victorianism in post-reform England, it grew more energetic in America from the 1830s through to the Civil War.
Edgar Allan Poe was probably the most recognized American poet outside of America during this period. Diverse authors in France, Sweden and Russia were heavily influenced by his works, and his poem “The Raven” swept across Europe, translated into many languages. In the twentieth century the American poet William Carlos Williams said of Poe that he is the only solid ground on which American poetry is anchored.
An American idiom
The final emergence of a truly indigenous English-language poetry in the United States was the work of two poets, Walt Whitman (1819–1892) and Emily Dickinson (1830–1886). On the surface, these two poets could not have been less alike. Whitman’s long lines, derived from the metric of the King James Version of the Bible, and his democratic inclusiveness stand in stark contrast with Dickinson’s concentrated phrases and short lines and stanzas, derived from Protestant hymnals. What links them is their common connection to Emerson (a blurb from whom Whitman printed on the first edition of Leaves of Grass), and a daring quality in regard to the originality of their visions. These two poets can be said to represent the birth of two major American poetic idioms—the free metric and direct emotional expression of Whitman, and the gnomic obscurity and irony of Dickinson—both of which would profoundly stamp the American poetry of the 20th century.
The development of these idioms can be traced through the works of poets such as Edwin Arlington Robinson (1869–1935), Stephen Crane (1871–1900), Robert Frost (1874–1963) and Carl Sandburg (1878–1967). As a result, by the beginning of the 20th century the outlines of a distinctly new poetic tradition were clear to see.
Modernism and after
This new idiom, combined with a study of 19th-century French poetry, formed the basis of the United States input into 20th-century English-language poetic modernism. Ezra Pound (1885–1972) and T. S. Eliot (1888–1965) were the leading figures at the time, but numerous other poets made important contributions. These included Gertrude Stein (1874–1946), Wallace Stevens (1879–1955), William Carlos Williams (1883–1963), Hilda Doolittle (H.D.) (1886–1961), Marianne Moore (1887–1972), E. E. Cummings (1894–1962), and Hart Crane (1899–1932). Williams was to become exemplary for many later poets because he, more than any of his peers, contrived to marry spoken American English with free verse rhythms.
While these poets were unambiguously aligned with High modernism, other poets active in the United States in the first third of the 20th century were not. Among the most important of the latter were those who were associated with what came to be known as the New Criticism. These included John Crowe Ransom (1888–1974), Allen Tate (1899–1979), and Robert Penn Warren (1905–1989). Other poets of the era, such as Archibald MacLeish (1892–1982), experimented with modernist techniques but were also drawn towards more traditional modes of writing.
The modernist torch was carried in the 1930s mainly by the group of poets known as the Objectivists. These included Louis Zukofsky (1904–1978), Charles Reznikoff (1894–1976), George Oppen (1908–1984), Carl Rakosi (1903–2004) and, later, Lorine Niedecker (1903–1970). Kenneth Rexroth, who was published in the Objectivist Anthology, was, along with Madeline Gleason (1909–1973), a forerunner of the San Francisco Renaissance.
Many of the Objectivists came from urban communities of new immigrants, and this new vein of experience and language enriched the growing American idiom. Another source of enrichment was the emergence into the American poetic mainstream of African American poets such as Langston Hughes (1902–1967) and Countee Cullen (1903–1946).
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