This second volume of verse by Grace Hazard Conkling — American poet, author and musician — ranges in theme from close observations of the natural world to the loss and desolation of World War I. Having taught English for 34 years at Smith College, Conkling remains honored to this day with an annual poetry residency in her name. – Summary by Nemo [chương_files]
English author Frank Stuart Flint was a prominent poet in the Imagist movement, along with Ezra Pound and T E. Hulme. Flint abandoned school at the age of 13 to pursue rigorous self-study, eventually mastering 10 languages, including French and Latin, while working at various jobs. At 17, he took up poetry, inspired by the writing of Keats. He published this, the first of his three books of poetry, when he was 24. This early work channels Keats and Shelley in its love lyrics, while later works reflect the influence of innovative French poetry, the Imagist movement and the his friendship with Ezra Pound. At age 35, following the death of his wife, he ceased poetry altogether, but continued writing the authoritative translations of French works for which he is also well-known. – Summary by Nemo [chương_files]
Sadakichi Hartmann was born in Nagasaki Harbor, to a German businessman and a Japanese mother. His mother died during childbirth and Sadakichi was sent to Germany to be raised. He arrived in America in 1882 and became friends with Walt Whitman. Sadakichi became an art and literary critic, wrote plays, short stories and several volumes of poetry. His poetry was heavily influenced by both the Japanese forms and Symbolist poets like Stéphane Mallarmé. – Summary by Nemo [chương_files]
Francis Ledwidge, Irish poet, served in an Irish battalion (“The Royal Inniskilling Fusiliers”) of the British Army during World War I. His first volume of poems was published while he served, in 1915; two more were published posthumously, and were followed by this collection of complete works in 1919. He and five comrades had been killed by an exploding shell during the third battle of Ypres (July 1917). His poems reflect his love for his native rural countryside, tinged with loss arising from the war. From his frequent use of a blackbird motif, he was known as the “Poet of the Blackbird.” Of him, the poet John Drinkwater wrote: “His poetry exults me, while not so his death…. to those who know what poetry is, the untimely death of a man like Ledwidge is nothing but calamity.” – Summary by Nemo [chương_files]
Poem #619 in The Book Of Georgian Verse, page 1110, published 1909. This poem seems so appropriate to what we do at LibriVox, surrounding ourselves with, learning from, and keeping alive the memories of deceased authors . . . their ideas, concerns, creative output . . . and hoping that our efforts will also last “through all futurity”. (Summary by Michele Fry) [chương_files]
Mountain Interval is a 1916 poetry collection written by American writer Robert Frost. It is Frost’s third poetic volume and was published by Henry Holt. It was republished in 1920. Frost made several alterations in the sequencing of the collection and released a new edition in 1921. Five lyrics of the earlier collection were compiled next under the title “His Wife”. In this volume only three poems are written in dramatic monologue. Summary by Wikipedia [chương_files]
New Hampshire is a volume of poems written by Robert Frost, for which he received the Pulitzer Prize. The titular poem is the longest, and it has cross-references to 14 of the following poems. These are the “Notes” in the book title. The “Grace Notes” are the 30 final poems. Contained in this collection are some of Frost’s best known works, such as “Fire and Ice”, “Nothing Gold Can Stay”, and “Stopping by Woods on a Snowy Evening”. (Summary by TriciaG) [chương_files]
John Gould Fletcher (1886 – 1950) is considered by many literary scholars to be among the most innovative twentieth-century poets. He enjoyed an international reputation for much of his long career and earned the Pulitzer Prize in poetry in 1939. Fletcher lived in England from 1909 to 1932 and while in Europe he associated closely with Amy Lowell, Ezra Pound, and other Imagist poets. In addition to being an adherent of Imagism, which used free verse and was dedicated to replacing traditional poetics with new rhythms, concise use of language, and a concrete rather than symbolic treatment of subject, Fletcher also wrote poetry that drew from such varied sources as French Symbolism, Oriental art and philosophy, and music. The 1st part of this book, “Ghosts of an Old House,” evoke, out of the furniture and surroundings of a certain old house, emotions and childish terror which the poet had concerning them. In the “Symphonies,” which form the second part of this volume, the poet narrates certain important phases of the emotional and intellectual development—in short, the life—of an artist. – Summary by Nemo [chương_files]
Irradiations; Sand and Spray, is the first book of poetry by John Gould Fletcher, published in 1915. Mr Fletcher was part of a group of poets known as imagist poets, which included Amy Lowell and Ezra Pound. Ezra Pound commended Fletcher for the individuality of rhythm in this, his first volume of poems. Fletcher describes his views on the rhythm of poetry as thus: “I maintain that poetry is capable of as many gradations in cadence as music is in time.” – Summary by Nemo [chương_files]
Clark Ashton Smith, nicknamed one of the “big three” of Weird Tales (the famous pulp fiction magazine), was also a romantic-style poet, contributor to the Cthulhu Mythos and a literary friend of H.P Lovecraft. As a poet, he was considered one of the last great West Coast Romantics. Published in 1918, prefaced by his mentor George Sterling and illustrated with Decadent movement-inspired embellishments by Florence Lundborg, this volume contains material republished from his 1912 collection and later included in his 1922 poetry compilation. (Summary by Mary Kay) [chương_files]
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