Prolific though she was, Pearl S. Buck wasn’t known as a poet. She produced only a limited number of poems, collected for publication as a slender illustrated volume, Words of Love (1974). Her verses are brief and direct, offering fleeting glimpses of the author’s inner world. Here’s a description from Words of Love (John Day Company, 1974) and three poems:
Pearl S. Buck wrote no poetry for the public eye (though she permitted a few verses to appear in her biography). In her lifetime she published scores of novels short stories, and essays. Her poetry, however, was her private domain, and the verses she wrote — her Words of Love — were inscribed in her treasure book, the journal she kept for her most intimate words and thoughts. Read More→
The 1853 poem “To George Sand: A Desire” was a tribute by poet Elizabeth Barrett Browning to French author Amantine-Lucile-Aurore Dupin, better known by her pen name, George Sand. When this poem was published, Sand was nearly 50 years old (born in 1804), just two years older than Barrett Browning. But the poet considered Sand a model for boldness in writing and living.
Starting with the famous line, “Thou large-brained woman and large hearted man,” the poem acknowledges Sand’s dual nature, and how she managed to wed intellect and emotion in her writings. Barrett Browning purposefully attributed brains to the feminine in Sand, and heart to the masculine, upending gender stereotypes.
and her success as a woman breaking through the barriers of what was a decidedly masculine literary world. Women were kept out, and if they did manage to break in, were taken less seriously. Read More→
Of her first published collection, The Book of Repulsive Women (1915), Djuna Barnes said: “My first book of poems is a disgusting little item.” When, much later (1952) a publisher asked to reprint some of her early work, Barnes responded: “I feel it is a grave disservice to letters to reissue merely because one may have a name for later work — or for that unfortunately praised earlier work, or for the purpose of nostalgia or ‘history’ which might more happily be left interred.”
Though only “Suicide” appeared in the Repulsive collection, the four other early poems by Djuna Barnes that follow illustrate the morbid voice that became a hallmark of her writing style. Though undated, these poems were from the period between 1910 – 1920. Illustrations by Djuna Barnes are from Ladies’ Almanack (1928). Read More→
Before attempting to publish novels, Charlotte Brontë undertook the task of finding a home for a collaborative book of poems by herself and her sisters, Anne and Emily Brontë. The latter is judged to be an adequate poet, but Emily Brontë’s poems have been acknowledged as the most moving and beautiful by the three sisters. The trio took masculine noms de plume (Charlotte, Emily, and Anne were Currer, Ellis, and Acton, respectively, and shared the surname Bell). The book, titled Currer, Ellis, and Acton Bell’s Poems was published (or one might more accurately say printed) in 1846 to absolutely no fanfare and humiliating sales of two copies. Still, the sisters were undaunted and soon after, though with much effort, found homes for their first novels.
Here are five of Emily Brontë’s soulful and beautiful poems.
Riches I hold in light esteem
March 1, 1841
Riches I hold in light esteem
And Love I laugh to scorn
And lust of Fame was but a dream
That vanished with the morn–
And if I pray, the only prayer
That moves my lips for me
Is – “Leave the heart that now I bear
And give me liberty.”
Yes, as my swift days near their goal
‘Tis all that I implore
Through life and death, a chainless soul
With courage to endure! Read More→
American Poet Amy Lowell (1874 – 1925) said of her works in vers libre (free verse) that its rhythms “have not been sufficiently plumbed, that there is in them a power of variation which has never yet been brought to the light of experiment.” About this particular piece, she wrote, “In ‘The Cremona Violin’ I have tried to give this flowing, changing rhythm to the parts in which the violin is being played. The effect is farther heightened, because the rest of the poem is written in the seven line Chaucerian stanza.” This poem was originally part of a collection titled Men, Women, and Ghosts (1919).
Frau Concert-Meister Altgelt shut the door.
A storm was rising, heavy gusts of wind
Swirled through the trees, and scattered leaves before
Her on the clean, flagged path. The sky behind
The distant town was black, and sharp defined
Against it shone the lines of roofs and towers,
Superimposed and flat like cardboard flowers. Read More→