Explored the complex relationship between British poetry and modernism since the 1970s, and how this relationship is reflected in the debate between mainstream and non mainstream poetry. The New English Poetry, co edited by Patterson and Simic, reflects the mainstream acceptance of modernism and emphasizes that poetry should be accepted by the general public. However, Brady criticized this viewpoint and believed that poetry should not be limited to meeting basic needs. Patterson believed that the status of modernism in English poetry was different from that in the United States, where English poetry tended to assimilate modernism, while the United States viewed it as a revolutionary movement. Hill believes that British poetry has not fully absorbed the innovations of modernism.

The Ethical Trap of Lobster: Sullivan's Lyrical Subject and Formal Remainder

Deeply explored the connection between Sullivan's poetry creation and her academic research, particularly how she incorporated elements of modernist poetry into her own works. Sullivan's debut poem "Three Poems" has attracted widespread attention in the British poetry world, among which "You, Very Young in New York" and "The Sandbank After the Rain" demonstrate the poet's integration with a wider range of subjects through the interaction of first person and second person. Repetition to the Beginning of Time: To Heraclitus "reflects Sullivan's exploration of the form of free-form poetry, injecting a modernist emotional tone into poetry through regular and irregular poetic lines, as well as italicized text in the form of dramatic narration.

The Reversion of the Visible World: Graham's All Right Alignment Poem in 'The Escapist'

In depth exploration of the poetry creation of American poet Gene Graham, particularly the form of congruent right aligned poetry in her 2020 poetry collection "The Escapist". Graham's poetry creation takes the traditional form of modernist poetry as a reference point, constantly seeking innovation and breakthroughs. Her poetry works have an Eliot style difficulty and hidden emotions, while incorporating Pound's spirit of "daily renewal" and the presence of modernist poetry. Compared with Sullivan's postmodernist poetry, Graham's poetry presents a high degree of homology in form and content, and the differences between form, content, and medium are not sufficient to distinguish them.