继庞德、艾略特、史蒂文斯、詹姆士·乔伊斯、威廉·卡洛斯·威廉斯等第一代现代派革新者之后崛起的第二代现代派诗人中,路易·朱科夫斯基在诗歌形式方面最为激进。他承受着来自现代派先辈诗人的影响,对他们形成了广泛而精准的呼应。他的“以‘the’开始的诗篇”曾一度咄咄逼人成为诗坛风标,但他更强调他的系列长诗“A”的必要性。他舍长调而取和音,去普遍而求具体,远宏大而近琐碎,创造了大量引人入胜却又艰涩难懂的作品,以其复杂的细节、对急风暴雨似的断言和含混暧昧的抽象的悖反而著称。他的诗歌富有感情,但难以理解,因为诗人拒绝将智性与情感、复杂与明晰隔离开来。诗人1931年为《诗刊》杂志编辑“客体派诗歌专辑”成为其文学生涯的转折点,他通过自己撰写的导言和选编的诗人牢固确立了自己的“客体派美学”,并与其中一些诗人如乔治·奥本、雷兹尼科夫、英国诗人巴西尔·班廷以及稍后结识的洛琳·尼德克结为诗坛同盟。 In the second generation of modernist poets who rose after the first generation of modernist innovators such as Pound, Eliot, Stevens, James Joyce and William Carlos Williams, Louis Zhu Kovsky is the most radical in the form of poetry. He inherited the influence of the modernist poets and formed a broad and precise echo of them. His “Psalms that started with the” once became the epitome of poetry altogether, but he emphasized the necessity of his series of long poems “A”. He long tune and take harmony, to the universal and specific, ambitious and near trivial, creating a fascinating but difficult to understand a large number of works, with its complicated details of the stormy assertion and ambiguous absurd abstract paradox Rather known. His poetry is full of emotions, but it is difficult to understand because the poet refuses to separate intelligence from emotion, complexity and clarity. Poet in 1931, “Poetry” magazine editor “object poetry collection” became the turning point of his literary career, through his own written introduction and poet firmly established his own “object aesthetics” and with some of the poets, such as George Oban, Reznikov, British poet Basile Banting and later acquaintance of Lorraine Nidek became poet aliens.