POETS Day! Leonora Speyer

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

You still at work? What do you think you’re getting done between now and quitting time? Cut out and stop pretending. Piss Off Early, Tomorrow’s Saturday.

First, a little verse.

***

There’s a photograph of Leonora Speyer where she looks to be in her early twenties. She was born to some wealth. I can’t tell if her her family was idly comfortable or extravagantly rich. Her father, who died six months before her birth, was Count Ferdinand von Stosch originally of Monze, later of Washington, DC. There’s not much on her in the typical poet biography places and scant to zip on her father. He fought for the Union side in the Civil War, settled in Washington, and died at around forty years old; no information about rank or deeds or cause of death. He immigrated in the 1840s or 50s, so he was a kid when he came. That’s about it. Otherwise he’s an addendum to the bio of the daughter he never met.

An AI search–so take it or leave it–reports the photo is from some time in the 1890s, which I’d already assumed. Leonora showed an early proclivity for music and led a public life. She gave her first public performance in Washington at age ten: Beethoven’s Moonlight Sonata. One source tells me she and her mother sailed for the continent in 1899, when Leonora was sixteen, to continue her musical studies in Brussels. Another tells me she debuted with the Boston Symphony Orchestra at age seventeen. It’s possible they went back for a visit, but I can’t find record of it. As best I can tell, she and her mother stayed abroad, first in Brussels and then in Paris with another violin teacher, until 1891 or 92.

Maybe they went back and forth, maybe she was seventeen when they left, maybe she was sixteen in Boston. No matter the details of her precociousness, Leonora was talented. She was a force on the piano as well as the violin, but there came a time to specialize. Whether she had a preference or felt she had a greater talent for violin is unclear to me, but she chose pure string violin over string/percussion piano in the end. Encyclopedia.com tells me she’d played the violin since her “chin was firm enough to hold it.” Having seen the photograph of her in her early twenties, my first though: “That must have been very, very, very, very early.” It’s not a flattering picture.

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POETS Day! Edwin Arlington Robinson

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

Why are you still at work? You’re not getting anything done between now and quitting time. Cut out and stop pretending. Piss Off Early, Tomorrow’s Saturday.

First, a little verse.

***

“We mourn, but with the qualification that, after all, his life was a revel in the felicities of language.”
– Robert Frost from his introduction to King Jasper by Edwin Arlington Robinson

When Edwin Arlington Robinson won the inaugural Pulitzer Prize for Poetry in 1922, I imagine it was a fine day of congratulations and warm feelings from all the other poets. For three years prior, there had been what we now call the Special Pulitzer Prize for Poetry, but that’s retconning. That was then known as the Columbia Prize, and stood apart. Harriet Monroe, writing in celebration of Robinson’s laurels threw in, “Four years ago, when the Poetry Society of America gave its first annual five hundred dollars to Sara Teasdale’s Love Songs, the award, being made in conjunction with the Pulitzer prizes, was falsely attributed to the same origin.” The Columbia put five hundred dollars in the winner’s pocket. The Pulitzer was worth one thousand. Neither was chump change in 1922, but double is considered by most who make their living in verse to be better.

Not that a true poet would ever consider something so crass as money, but on those odd occasions when the subject came up in conversation, it must have been nice knowing, for those of a zero-sum view, that there was more to be contested than had been before. When the second Pulitzer was awarded to Edna St Vincent Millay in 1923 and the third to Robert Frost, I assume along with standard jealousies the warm feelings continued.

In 1925, Robinson won his second Pulitzer. In the audience of the poetry place where all the poets hang out, I imagine heartfelt applause on hearing, because EA, as he didn’t like the name Edwin, was a kinda dour guy but he wasn’t offensive. Maybe he was a little dark, but he was witty dark, not depressing dark. Still, as the crowd dispersed to cocktails and cliques coalesced, jocular between swigs, “You know, there are other poets out there.”

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POETS Day! Hendecasyllabics

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

Happy 250. I don’t guess many need POETS Day encouragement, but Piss Off Early, Tomorrow’s the Semiquincentennial. How blessed are we as a nation that this falls on a weekend?

They pledged their Lives, their Fortunes, and their sacred Honor.

***

Thomas Campion (1567-1620) tried to squish English poetry into Hellenic meter. He wasn’t alone. Spenser and Sir Philip Sidney eyed the same goal. The latter two gave it up for iambic pentameter. Campion beat onward in a doomed campaign.

Classical rhythms don’t work in English. Listen to a romance language speaker. They inherited cadence from the Romans, and they from the Greeks. Syllable to syllable, they’re even. For all the stereotypes about spicy Spaniards and hot Latin lovers, their pitch and speed may vary from sentence to sentence and god knows there are arms in motion, but the actual speech is flat, practically monotone. They have their accentual moments, but those are not the rule. They stretch syllables. There are drawn out and compact vowels, but not much happening on the Y axis. English is bouncy.

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POETS Day! Sir Philip Sidney Didn’t Get the Girl

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

Welcome once again to POETS Day, where we usher in Henry Ford’s greatest creation – the weekend – a few hours ahead of schedule by embracing the ethos of the day: Piss Off Early, Tomorrow’s Saturday.

Life’s too short for work, and nobody’s gonna notice if you hoof it mid-afternoon.

***

In a 1579 letter from Edmund Spenser to Gabriel Harvey, Spenser brings up an organization he’d been invited to join by “Master Sidney and Master Dyer.” The Masters were Sir Philip Sidney and Edward Dyer, a pair of Elizabethan courtiers who acted as agents and soldiers abroad for Her Majesty. Sidney, at least, would be shocked that he’s remembered as a poet rather than envoy or governor. The organization was called The Areopagus, and it’s fairer to call it the proposed organization as it’s not known whether it ever made it past planning. No meetings are recorded.

Sydney may have been inspired in conceiving his literary club by the Wilton Circle, a literary circle of which Spenser is confirmed to have been a member, founded and led by Philip’s sister Mary Sydney and run by Sir Walter Ralegh’s half brother (possibly Humphrey Gilbert, though I haven’t found a site willing to lift whomever out of Ralegh’s shadow with more than “half-brother.”) The Wilton Circle is described by the Shakespearean Authorship Trust as “the most important and influential literary circle in English history.” The Authorship Trust’s mission, depending on your disposition, is “just asking questions” regarding the authorship of plays ascribed to William Shakespeare, or they’re a bunch of conspiracy nuts on a snipe hunt. It’s also possible that Mary’s Wilton Circle postdated Sydney’s idea for the Areopagus. I can’t find minutes.

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POETS Day! Poems from Wallace Stevens’s Harmonium

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

TGIF is POETS for those without initiative. Make it happen. Piss Off Early, Tomorrow’s Saturday.

First, a little verse.

***

Wallace Stevens started late. His first poetry collection held an impressive, by debut poetry collection standards, eighty five titles, but when the book, Harmonium, was published in 1923, its author was in his early forties. He’d had time to backlog.

I covered Stevens’s morning routine—composing in his head as he walked to his office at Hartford Accident and Indemnity Company—in this space three years ago. In Harmonium, he wrestles with how he should see the world. Should he be grounded in the rational or loose in the imagination? The question is posed piecemeal and never resolved.

I remember when Donna Tartt’s A Secret History came out. My mother’s kitchen table review was that it’s a great book, but she put all she’s ever learned and considered into it and she won’t have anything else to say for five to ten years. That was in 1992. Tartt’s second book came out in 2002. Stevens spends a great deal of energy trying to sort himself. He wrote sparingly through the 20s, not writing regularly again until 1933 and not publishing another bound volume until Ideas of Order in 1936. Harmonium received harsh reviews. Mark Van Doren dismissed him from the genre by writing in The Nation, per Wikipedia, that Stevens’ wit “is tentative, perverse, and superfine; and it will never be popular.” There were nice things written too, but the negatives weighed on him. Maybe he, like Tartt in Mom’s pinning, spent his store. Maybe the critics brushed him back. Maybe he had to reconcile vers libre with actuary tables.

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POETS Day! The Present in TS Eliot’s “The Dry Salvages”

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Illustration by Rene Sears of The Dry Salvages rock formation off the coast of Gloucester, Massachusetts where TS Eliot spent his boyhood summers.

[This entry is cross posted at ordinary-times.com]

Welcome once again to POETS Day, where we usher in Henry Ford’s greatest creation – the weekend – a few hours ahead of schedule by embracing the ethos of the day: Piss Off Early, Tomorrow’s Saturday.

Life’s too short for work, and nobody’s gonna notice if you hoof it mid-afternoon.

***

TS Eliot titled the third of his Four Quartets “The Dry Salvages” after a rock formation off the coast of Gloucester, Massachusetts, a fishing village and seaside retreat where the St. Louis based Eliot family spent their summers when the poet was a boy. Dry Salvages derives from an original French name for the formation transformed by time, mishearings, and local accent. Eliot tells us in a parenthetical preceding the poem, “presumably les trois sauvages,” Anglicized over time but, he instructs, “pronounced to rhyme with assuages,” so not as yet a fully English subject.

As with all of the Four Quartets, “The Dry Salvages” manages competing images presenting a theme. There’s a great deal going on and a great many ways to spend a thousand words on an aspect without touching on any number of other aspects. In this poem, the opening and recurrent image is that of water. The river is present, flowing, perceptible action. The sea is unknowable depths. Water rises from the sea, rains and forms oceans and back to the sea. The sea is the past and the future. We cannot know which or guess at more than the surface. The river is with us, changing in the moment. It is present. The idea permeates.

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POETS Day! Ezra Pound’s Hugh Selwyn Mauberley

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Photo by me.

[This entry is cross posted at ordinary-times.com]

The work week’s nearly finito; barely a few hours left. What are you doing? You’re not getting anything done between now and quitting time. Cut out and stop pretending. Piss Off Early, Tomorrow’s Saturday.

First, a little verse.

***

Ezra Pound was a very good poet but not a master versifier. I think he knew that. “Major Poet” is a term reserved for the greats who define their time and turn swaths of contemporaries into satellites. Yeats is a Major Poet, as is Eliot. “Minor Poet” sounds dismissive, though it’s not. Don’t mistake Minor for bad or run of the mill. Bad or run of the mill poets are called poets. A Minor Poet merits consideration enough have status conferred, to have demonstrated excellence if not tremendous influence.

In his essay “What Is Minor Poetry?,” Eliot picks out Robert Herrick, noting that he shows no “continuous conscientious purpose.” Herrick “is more the purely natural and un-self-conscious man, writing his poems as the fancy seizes him,” and it being Eliot writing, assumes we see and will make our own “gathering his rosebuds as he may” crack. Auden was more pragmatic, declaring that Major Poets have college courses devoted to their work and their work alone while Minor Poets do not. Auden would have made the rosebud joke.

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POETS Day! Dorothy Wellesley

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

The work week’s nearly finito; barely a few hours left. What are you doing? You’re not getting anything done between now and quitting time. Cut out and stop pretending. Piss Off Early, Tomorrow’s Saturday.

First, a little verse.

***

from Fire
Dorothy Wellesley (1889-1956)

(‘Does not our life consist of the four elements?’
—Shakespeare)

The great stone hearth has gone.
An oblong electric tube is set in the wall
Like a cheap jewel.
Men converge no more to fire,
Men are on with the isolation:
The pride of science stands, and the final desolation.

No smoke, no danger, you tell me with veneration:
Much dies with the fire, young man,
More than one generation:
Man has known fire more than one generation.

That’s a tremendous opening. Yeats came across Dorothy Wellesley’s poetry in 1935 while putting together The Oxford Book of Modern Verse: 1892-1935 and had to meet her. According to Kieth Alldritt in his W.B. Yeats: The Man and the Milieu, the great poet was overcome: “My eyes filled with tears. I read in excitement that was more delightful because it showed that I had not lost my understanding of poetry.” Yeats further honored her with commentary in the Oxford Modern Verse introduction, writing “I knew nothing of her until a few months ago I read the opening passage in Horses, delighted by its changes in pace, abrupt assertion then a long sweeping line, by its vocabulary modern and precise.”

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POETS Day! Hugh MacDiarmid Thistled While He Worked

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Illustration by Rene Sears

[This entry is cross posted at ordinary-times.com]

I just got an email from my son’s college informing parents that our little darlings have to be out of the dorms by May, 9. That went quickly. Tempis fugit, carpe diem, “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it,” Piss Off Early, Tomorrow’s Saturday.

Honestly, that really snuck up on me. Freshman year: Almost down.

In the mean time, do that last one. Happy POETS Day.

First, a little verse.

***

I read about poets lives a good deal, and have decided that a lot of literary immortality is born from not having any idea what you’re doing on any front—politics, relationships, plain ole human decency—and making a ton of noise while you try to figure it out.

Not all, but many. Mild mannered insurance agent Wallace Stevens threw a punch at Hemingway. Pound blathered on about passports, clothing drives, new, new, new, and economic fantasy. The upright TS Eliot kept well within the rails when not tearing hundreds year old poetic tradition to pieces and filling the void with continuum-compliant fixes. He may have been the messiest of the lot. It’s seamless energy. Even in tubercular throes, Keats, Dunbar, Praed, and Lawrence produced poetry, sent out letters, remained exhibitionist observers. From one thing to another, promiscuous passions, stardom, hermitage; there is either a singularity of focus in the moment frequent to literary success or a conspiracy of biographers leading me to believe so. And the energy needs focus. One thing succeeds, fails, or finishes. What’s next?

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POETS Day! Apes in Hell

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Illustrated by Rene Sears

[This entry is cross posted at ordinary-times.com]

The work week’s nearly done and you’re spending these last few hours doing what exactly? Trying to look busy? Surreptitiously scanning restaurant reviews? Checking game times? Texting your friends about restaurants and game times? Cut it out and cut out. Piss Off Early, Tomorrow’s Saturday.

First, a little verse.

***

I’ve mentioned before that I’m an introduction reader if the introduction is relatively short or obscenely long. My theory is that I might as well read a short one and that a long one indicates something in the book requiring the long introduction; something I might otherwise miss. My experience shows mid-length ones to be fumbling, fawning, and filled with ten dollar praise of the sort grad students fuss out over beloved former teachers. If I like the book, I’ll read those after. It’s a slapdash theory, but it’s served me and I’m fixed in my habits.

Christian Lorentzen wrote the Introduction to the NYRB Classic edition of Take a Girl Like You by Kingsley Amis, and I’m a little ticked off at him. He’s funny and drops some whispered-about biographical info, though he’s writing about Amis and the info is about infidelity so it was loud whispering to begin with, but entertaining. I’m not going to work out the chronology, but Harper’s claims Lorentzen as a contributor, as do the London Review of Books and others. This intro is a small sample size, but I’m content to dub him one of the good guys and read what I come upon in the future. Still, he ticked me off. I’m pretty sure he gave away the ending of the book.

Not so terribly that I won’t read. I’m pretty, not totally, sure he spoiled it. Lorentzen gives a who’s who of the characters, outlines the conflict central to the plot, and then tells us the ending is “genuinely shocking.” But given the build up as explained there’s only one genuinely shocking ending. If he’s pulled a feint and one of the mains out of nowhere joins the priesthood, reveals himself as the Lindbergh baby, grows a trunk: fine. The ending isn’t spoiled. But given where the story, by his touching on it tells, is going… Dammit.

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