In his work, poetry — immemorially connected to the moon — exists side by side with solar nature, and claims its own inspiration.
Ammons never forsook the delights of the colloquial; his last book, (2005), like his first, makes ordinary speech a fundamental principle of style.
Nonetheless, he was the first American poet for whom the discourse of the basic sciences was entirely natural.
He had been saturated in it as an undergraduate at Wake Forest, and it had for him a moral intimation as well as an intellectual one: It spoke provable truth, and so became an object of alliance in his disaffection with Christianity.
The poet celebrates the casual tone of the placid “new walk” but has yet to accept, intellectually, that the outbreak of violent feeling is one of the indispensable and inevitable ingredients of his lyric world, confronting the pastoral of the seashore with a furious wind: “Song is a violence / of icicles and / windy trees,” “violence / brocades // the rocks,” “a / violence to make / that can destroy.” Acknowledging hostility in himself, and seeing an equivalent violence in nature, Ammons is preparing for the emotional explosions of his later poems.
a theoretical construct that refers to a cluster of social and behavioral conventions that are typically considered to be socially appropriate customs for individuals of a specific sex within a particular culture Feminist criticism, or gender studies, focuses on the role of women (or gender) in a literary text.
This passage marks the watershed in his work between an “objective,” abstract, scientific language of thought and a more flexible language in which feeling — the larger entity summoned by experience — incorporates the intellect: I wish I could put into words the coming-round I have experienced (intellectually) the last few years. Intellect is the slow analytic way — the unexperienced way to action: feeling is the immediate synthesis of all experience, intellect as well as emotion.
I once despised feeling as worthless, evanescent, of no “eternal significance.” I thought only of the “permanent” outside, the revolving galaxies, the endless space, and man on his tiny speck seemed meaningless. A decade later, in a 1971 letter to Harold Bloom, he put his creed somewhat differently. Grief, fear, love, life, death, everything goes on just as before, but now everything seems lifted, just a bit, into its own being.
According to Bressler, “central to the diverse aims and methods of feminist criticism is its focus on patriarchy, the rule of society and culture by men” (168).
Feminist criticism is useful for analyzing how gender itself is socially constructed for both men and women.