Correspondence
Sirs:
I was particularly interested by the
poems in the French issue of PR:
this sort of freely moving high lyri–
cism (which is not at all "anti–
intellectual" but rather the more
philosophical for being more lyrical
and flowingly imaginative) does
not seem to be very popular among
American poets at present. Most
of them seem to be constricted and
even constipated in their expres–
sion, or else one has the feeling that
there is so little there that that lit–
tle has to be carefully meted out
(I am not referring to the great
ones of the older generation: to
A NEW BOOKSHOP
Pound, Williams, Stevens, Moore,
Cummings, or-I think one should
call his bluff and invariably include
him among American poets–
Eliot). There
are
a few American
poets writing in a more freely lyri–
cal manner, but they are seldom
published, especially in the larger
reviews. Of course, I think the cri–
tical reaction of the last ten years
or so has had a lot to do with this
situation: I mean by critical reac–
tionaries not so much Brooks, Mac–
Leish, or
J.
Donald Adams (none
of whom, I'm sure, have been read
by any halfway serious writer with
more than amusement, insofar as
This copy is dated December
5.. ..
We know we won't have these
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so to
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Kenneth Burke :
Counter-Statement; Permanenoe and Change;
Cyril
Connolly:
The Rock Pool;
Malcolm Cowley:
Exile's R eturn;
Lawrence
Durrell:
The Black Book;
T . S. Eliot:
The Use of Poetry;
William
Empson:
Some V1e,rsions of Pastoral;
Samuel Putnam:
The European
Caravan;
William Faulkner:
A Green Bough; Salmagundi; Light in
August; Dr. Martino; These Thirteen;
E. M. Forster:
Aspects of the
Novel;
Philip Horton:
Hart Crane;
F.
G.
Lorca:
The Poet in New
York;
F.
0.
Matthiessen:
The Achievement ofT. S. Eliot;
Oskar Pfister:
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Yvor Winters:
Primitivism and Decadence;
and hundreds
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~ld
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ANATOLE BROYARD
ARTHUR BURWELL
18 Cornelia St., N. Y. C. 14
