I think you would like the following excerpt which analyzes the relationship between modernism and poetry.
Modernism vis-Ã -vis Poetry
Modernism is where we are now, broadly speaking, if we include Postmodernism and experimental poetry. Modernist poetry is the poetry written in schools and poetry workshops, published by thousands of small presses, and reviewed by serious newspapers and literary journals â€” a highbrow, coterie poetry that isn't popular and doesn't profess to be. To its devotees, Modernist styles are the only way of dealing with contemporary matters, and they do not see them as a specialized development of traditional poetry, small elements being pushed in unusual directions, and sometimes extended beyond the limits of ready comprehension.
The key elements of Modernist poems are experimentation, anti-realism, individualism and a stress on the cerebral rather than emotive aspects. Previous writing was thought to be stereotyped, requiring ceaseless experimentation and rejection of old forms. Poetry should represent itself, or the writer's inner nature, rather than hold up a mirror to nature. Indeed the poet's vision was all-important, however much it cut him off from society or the scientific concerns of the day. Poets belonged to an aristocracy of the avant garde, and cool observation, detachment and avoidance of simple formulations were essential.
Poststructuralist theories come in many embodiments, but shared a preoccupation with language. Reality is not mediated by what we read or write, but is entirely constituted by those actions. We don't therefore look at the world through a poem, and ask how whether the representation is true or adequate or appropriate, but focus on the devices and strategies within the text itself. Modernist theory urged us to overlook the irrelevancies of author's intention, historical conventions and social context to assess the aesthetic unity of the poem. Poststructuralist criticism discounts any such unity, and urges us to accept a looser view of art, one that accords more with everyday realities and shows how language suppresses alternative views, particularly those of the socially or politically disadvantaged.
Experimental poetry takes the process further, taking its inspiration from advertising, and deploying words as graphic elements.
Modernism has no precise boundaries. At its strictest, in Anglo-American literature, the period runs from 1890 to 1920 and includes Joyce, Pound, Eliot and Wyndham Lewis among many others. But few of its writers shared common aims, and the term was applied retrospectively. Very largely, the themes of Modernism begin well back in the nineteenth century, and many do not reach full expression until the latter half of the twentieth century, so that Modernism is perhaps better regarded as part of a broad plexus of concerns which are variably represented in a hundred and twenty years of European writing.
Modernism is a useful term because writing in the period, especially that venerated by academia and by literary critics, is intellectually challenging, which makes it suitable for undergraduate study. Many serious writers come from university, moreover, and set sail by Modernism's charts, so that the assumptions need to be understood to appreciate contemporary work of any type. And quite different from these is the growing suspicion that contemporary writing has lost its way, which suggests that we may see where alternatives lie if we understand Modernism better.