The Dragon and the Unicorn is Kenneth Rexroth’s second long philosophical poem about World War II. As in “The Phoenix and the Tortoise,” he quests for some saving source of hope in a stricken world, this time through firsthand inspection of America and Europe. Rexroth dates the composition “1944–50” to establish its connection with the last years of the war and those immediately afterward — obviously a period of massive emotional upheaval.
Charles Olson’s body-based poetics becomes an influential source for women poets attempting to redefine feminist projects after the 1960s. As Kim Whitehead’s Feminist Poetry Movement shows, much writing inspired by second-wave feminism draws on liberal models of selfhood and political recognition, viewing women’s “confession” of private experiences as the basis for the empathy and solidarity that form collective public identity.