In the attached article, literary critic Edmund Wilson (1895 – 1972) defends the modern poets of 1920 in the same manner that art critics forty years hence would explain the painters of the Pop Art movement. He recognized that the world of 1920 was very different from the environment in which Walt Whitman created his verses; the sensory impact of the modern city with all its foul air, public advertising, skyscrapers, honking taxis and the incessant clatter of office typewriters can only contribute to the creation of a new kind of poetry.
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