By Lowell, Amy; Lowell, Amy; Rollyson, Carl Edmund
The debatable American poet Amy Lowell (1874-1925), a founding member of the Imagist staff that integrated D. H. Lawrence and H. D., excelled because the impresario for the “new poetry” that grew to become information around the U. S. within the years after international battle I. Maligned via T. S. Eliot because the “demon saleswoman” of poetry, and ridiculed by way of Ezra Pound, Lowell has been taken care of by way of past biographers as an overweight, sex-starved, inferior poet who smoked cigars and made a spectacle of herself, canvassing the rustic on lecture excursions that drew crowds within the countless numbers for her electrifying performances.
In truth, Lowell wrote a number of the most interesting love lyrics of the 20th century and led a whole and loving lifestyles together with her consistent better half, the retired actress Ada Russell. She was once provided the Pulitzer Prize posthumously in 1926. This provocative new biography, the 1st in 40 years, restores Amy Lowell to her complete humanity in an period that, eventually, is starting to have fun with the contributions of gays and lesbians to American’s cultural background. Drawing on newly stumbled on letters and papers, Rollyson’s biography eventually offers this brilliant poet her due.
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Additional resources for Amy Lowell anew : a biography
20 Teenage Amy chafed at the restraints of her sex: “Wouldn’t it be delightful to be a man . . no dependence, go where you please, do what you please. I can imagine falling in love with a man. I should like to be a man & fall in love with a woman. Oh well! What must be must be. ” Amy may not have been easy to love. She tended to draw away. She did not like to be kissed. “I hate effusion,” she declared in her diary. It seemed foolish to her. “Some people are geese,” she said matter-offactly. After a snowball fight in a public garden that made Amy feel like a child, she was chagrinned to learn that her friends had gone off for a walk without inviting her.
Especially in retrospect, the book reflects her novitiate. ” What had stirred his enthusiasm? ” The half rhymes in “Dream”—“moods” and “woods,” for example—probably troubled him, although the passionate Lowell of later lyrics emerges briefly in When you go It is as if some sudden, dreadful blow Had severed all the strings with savage ease. This eruption of feeling, like the breakup with Elizabeth Seccombe, signals the advent of a modern sensibility still struggling within the conflicted, if stilted, lines of “A Fixed Idea”: You lie upon my heart as on a nest, Folded in peace, for you can never know How crushed I am with having you at rest Heavy upon my life.
38 Lowell’s blank verse poem commemorating the first night performance of Francesca da Rimini was first published as an apprentice work in Poetry (August 1923), and it revealed that watching Duse had opened Lowell’s heart, as the actress expressed the idea that art could draw forth the nobler part of the self. ” Duse made herself into an instrument of art. Amy Lowell, disheartened for nearly a decade, became intoxicated, imagining that she could transform herself with the performance of her OUT OF THE B ROOD ( 1 8 7 4–1 9 1 2 ) 19 own words.