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引用次数: 0
摘要
第三章考虑了1893年世界博览会对中西部作为国家未来代表的当代观念的意义。我们跟随马斯特来到芝加哥,他在那里与克拉伦斯·达罗(Clarence Darrow)一起当律师,为常年的总统候选人威廉·詹宁斯·布莱恩(William Jennings Bryan)助选,但他以改革为重点的文学作品未能找到读者。在为自己的作品寻找合适的创作场所而苦苦挣扎之后,马斯特斯试图迎合新兴的现代主义情感,比如哈里特·门罗的《诗歌》杂志。在1914年首次出版于《芦苇镜》(Reedy’s Mirror)的《斯彭河文集》(Spoon River Anthology)中,马斯特斯将他对彼得堡和刘易斯敦的记忆合成在诗歌中,模仿了埃兹拉·庞德(Ezra Pound)和希尔达·杜立特(Hilda Doolittle)等年轻诗人的现代主义风格,并在早期现代主义诗歌的读者中得到了接受。
Chapter 3 considers the significance of the 1893 World’s Fair on contemporary notions of the Midwest as representative of the nation’s future. We follow Masters to Chicago, where he worked as a lawyer with Clarence Darrow, campaigned for the perennial presidential candidate William Jennings Bryan, and failed to find an audience for his reform-focused literature. After struggling to find a venue for his writing, Masters tried to appeal to nascent modernist sensibilities exemplified by Harriet Monroe’s Poetry magazine. In Spoon River Anthology, first published in Reedy’s Mirror in 1914, Masters synthesized his memories of Petersburg and Lewistown in poetry that emulated the modernist style of younger poets like Ezra Pound and Hilda Doolittle and he found acceptance among readers of early modernist verse.