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 global struggle I. Maligned via T. S. Eliot because the “demon saleswoman” of poetry, and ridiculed by means of Ezra Pound, Lowell has been taken care of through prior 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 the various most interesting love lyrics of the 20th century and led a whole and loving lifestyles along with her consistent spouse, 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, ultimately, is starting to delight in the contributions of gays and lesbians to American’s cultural background. Drawing on newly came upon letters and papers, Rollyson’s biography ultimately supplies this bright poet her due.
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Extra resources for Amy Lowell anew : a biography
Amy was not exactly lonely; she was sometimes a loner by choice. ” In her undated composition book, the teenage Amy answers questions that revealed self-control as her favorite moral characteristic; deceit as the moral failing she most disliked; Benjamin Franklin as the American hero she most admired; and Alfred the Great as her pick for a hero from another country. The man she most hated in history was Napoleon, and her favorite American heroine was Barbara Frietchie. The ninety-five-year-old is said to have stood in a Frederick, Maryland, street waving the Union flag in defiance of Stonewall Jackson’s invading troops, declaiming John Greenleaf Whittier’s poem.
Amy had grown up in Brookline with Sedgwick’s wife, Mabel Cabot. When the couple married, Amy had given them “several shelves of morocco-bound English classics,” and she had maintained their friendship. 1 Now she submitted three poems, “Dreams,” “A Fixed Idea,” and “A Japanese Wood Carving,” to the periodical. The editor raised some doubts about her technical facility, but he published the latter two works. Although Lowell always described Sedgwick’s tastes as conservative, he shared with her a growing disenchantment with late nineteenth-century poetry, which seemed to have stiffened into factitious poses and sentimentality.
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. But she had to learn how to work that transformation for others in order to attract the audience that adored Duse. Melissa Bradshaw provides the most powerful explanation of what Duse meant to Amy Lowell in 1902. Lowell had seen several of Duse’s performances before—in 1893 and 1896—and had even met the actress briefly in Philadelphia.