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]
Jefferys Taylor was born in 1792 in Suffolk, England. He became apprenticed to his father who was an engraver and invented a special ruling machine for engravers but went on to emulate his mother who was a children’s writer. His books include favourites like Harry’s Holliday or the Doings of One Who had Nothing to Do and The Little Historians. This book “Aesop in Rhyme” published in 1820, contains 58 of Aesop’s Fables which he has retold in verse as well as 13 original fables of his own. Each is illustrated with an engraving which though uncredited he probably drew himself. He died in 1853. (Summary by Noel Badrian) [chương_files]
Gilbert Frankau was a prolific and popular British novelist who wrote both in prose and verse and had fifty works published over a fifty year period. He is considered one of the war poets of World War I. This collection of his poems, published in 1918, reflect his experiences which included fighting in some of the major battles of the war at Loos, Ypres and the Somme. Summary by Nemo. [chương_files]
This little square book, the colour of meadow forget-me-nots, is so modest and simple that it may very easily be passed over in a period which has little sympathy with tenderness of feeling and simplicity of expression. The verses, of which this small volume is full, resemble the stornelli and rispetti of Italian songs rather than any kind of verse which has preceded them in English literature, unless it be the earliest and briefest songs of Robert Lytton, with which they have a certain kindred, both in their measure and in their themes. Auberon Herbert is known to the world as a daring and original thinker, a sociologist who lives three centuries before his time, a fearless preacher of new liberties and ideal creeds; in this tiny azure booklet he is also a poet, or, as he would rather himself say, a singer. The verse springs from the depths of his heart, and calls to those who, like himself, have loved and suffered and found nothing endure except the consolations of natural beauty. (Ouida, 1900) – Summary by Arthur Krolman [chương_files]
These are the original, tender and thoughtful poems of a young female artist who lived and died in seventeenth century London — only 70 years after William Shakespeare. Her diction is readily accessible to listeners after almost 350 years and the subjects on her mind we can imagine on the minds of educated young women today. She writes often of love, broken hearts and the beauty of reason and self-control — as if she knew the Age of Enlightenment was just around the corner. She also opines intelligently and optimistically on death and the soul although she mentions God seldomly. More commonly she betrays her familiarity with Ovid referencing Greek nymphs and heroes while projecting herself in the scene in a charming girlish way. Her poetic prowess was noticed by critics who openly doubted a mere girl could write with such touching originality on her own. Her rejoinder verse in this collection shows admirable restraint and conclusivity. One only wonders what would have followed as she matured and what artistic output of Miss Killigrew the world has done without. She died of smallpox in her twenty-fifth year. – Summary by Arthur Krolman [chương_files]
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