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BOOK REVIEWS / 449 of mainly thematic and ideologically driven analyses.1 Accordingly, his focus on poetry and its distinctive formal properties stands out as a much-needed corrective to that general tendency. Furthermore, the sheer geographic scope of his expansive vision for the ï¬eld of modern and contemporary Anglophone verse offers a salient reminder of the multiplicity of fruitful avenues open to comparative investigation even within the terms of a single language, especially one that has achieved a demonstrably global reach. The more polemical aspects of Ramazaniâs argument take the form of a critique of what he calls the âmononational paradigmâ (28) of existing poetic criticism in English. This paradigm ï¬nds its clearest expression in the normative editorial practice of labeling writers with singular national identities, even when, as in the case of such ï¬gures as T.S. Eliot, Gertrude Stein, Melvin Tolson, Langston Hughes, Claude MacKay, D. H. Lawrence, Christopher Okigbo, Louise Bennett, and Okot pâBitek, to name only a few, the circumstances of their lives and the content of their work obviously reach beyond the boundaries of their countries of origin, or any single national or even linguistic tradition.2 Moreover, as Ramazani notes, the rise of verse by
Comparative Literature – Duke University Press
Published: Sep 21, 2011
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