This question is really hard to find. Last week, my foreign teacher recommended me to read a poem and let us write one ourselves. I was puzzled at that time. Chinese poetry was not very good. Let me write English. But I agree with the landlord that those poems are really beautiful to read. No matter what kind of culture poetry, people are always deeply moved. Here are some materials I found, I hope the landlord can use them. Satisfied, don't forget to adopt: the decades at the end of the 20th century witnessed the death of the main characters in American poetry, and it was their works and their influence that promoted the formation of American poetry. Robert lowell, elizabeth bishop, james wright, Robert Duncan, Robert Hayden and Robert Pan Warren all died in the 1960s and 1960s. The deaths of James Merrill, allen ginsberg, Dennis Leftover, Gwendolyn Brooks and Amons in the 1960s and the early 20th century changed the pattern of American poetry in the early 21st century. Merrill is a master of form, and his realm and influence on American poetry only increased with the publication of 200 1 Selected Poems. His works are smart, elegant and restrained, but surprisingly moving. Like Auden or Frost, they turned to seriousness (and emotion) through wit. Ginsberg is a formal innovator and emotional exhibitor at this stage; Howl inherits the tradition of Whitman and Williams to liberate American poetry from restrictive poetic dogma. Levertoff's lovely and mysterious poems, developed from daily experience, have an important connection with the imagist works of Williams and H.D. She once wrote, "They put the language into our hands." Brooks brought a love of form and language to American poetry, and she combined African-Americans' keen sense of history with vivid experiences. The younger generation of poets, such as rita dove and Michael Harper, have now become outstanding figures, and some of the poems they come into contact with are formed by taking Brooks as an example. In his own way, Amons became a great experimenter like Ginsburg. Just like John Cage in music, he is willing to include arbitrariness in his form, for example, writing a long poem on a piece of computer paper. His book-length poem Garbage, with its loose form and happy energy in the face of impermanence, can now be regarded as one of the representative works of American poetry in the late 20th century. Although its title "garbage" is deliberately disrespectful-just like fragments of Eliot's Quartet and Williams' Patterson-this poem can be properly interpreted as an epic exploration of nature and spirit.
The increasingly important significance of Merrill, Brooks and Amons to contemporary poets is based on elizabeth bishop who died in 1979. Her works despise most of the abstract generalizations about her time formed later; It has no extended sequence or epic structure, but, to borrow robert lowell's words, it has a simple ability to "make accidents perfect". Since her death, her descriptive strategies, anecdotes and persistent doubts about her own analogy have had the most important influence on poetry in the late 20th and early 20th centuries. Among the poets who benefited from Bishop's works, rita dove, Robert Pinsky, Jane kenyon, jane shaw, Keshi Song and Bishop's friend James Merrill (in his last collection of poems, The Dispersion of Salt) are only a few. Another lesson provided by her works is to correct the distinction between formalists and anti-formalists formed in 1990' s. Looking back at the works of poets in that era, we can see how many people have deviated from the traditional form like Bishop, and some, such as Merrill, boldly updated their sonnets. Some people, such as Amons, Brooks, Pinski or Louis Gluck, are keenly aware of the characteristics of poetry in rhythm and form, but they are not bound by traditional forms.