Tracing Denise Levertov’s religious dispositions throughout her life, how does religious, mystical, or Transcendental discourse operate in her poetry?
How do the high modernists, Imagists, and postmodernists affect Levertov’s line, meter, and imagery? From whom does she borrow, and how does she implement her acquired tools and materials?
Where and how does Levertov insert herself and her own life into her work?
Considering a piece such as “Carapace,” does Levertov try to teach with her poetry? If so, who would be her audience?
How does the interplay between domestic and global policy play into works such as “What Were They Like?” and “A New Year’s Garland for My Students/MIT: 1969-70”?
How does nature operate in Levertov’s poetry? Is it generative? Destructive? Containable?