This engaging collection of essays restores Amy Lowells rightful place in the history of American literature. Carl Rollyson, author of several major literary biographies, corrects the distorted and often hostile accounts of Lowell that have appeared in biographies of D. H. Lawrence, Robert Frost, Ezra Pound, and other writers who collaborated with her in establishing the new poetry as an integral part of post World War I American culture. For the first time, a well-rounded portrait of Lowell emerges to contradict the malicious and inaccurate reports of her public and private life. Especially notable is Rollysons discussion of Lowells friendships with women who wrote memoirs about the poet that contradict the sort of prejudice leveled against her by Pound and his circle of writers and critics. Rollysons brief but revealing discussions of Lowells poetry, and his inclusion of the full texts of key poems, makes this volume an authoritative introduction for new readers of one of the 20th centurys important writers. And Rollysons meticulous analysis of several literary biographies also makes a contribution to the study of contemporary life writing.

The controversial American poet Amy Lowell (1874-1925), a founding member of the Imagist group that included D. H. Lawrence and H. D., excelled as the impresario for the “new poetry” that became news across the U. S. in the years after World War I. Maligned by T. S. Eliot as the “demon saleswoman” of poetry, and ridiculed by Ezra Pound, Lowell has been treated by previous biographers as an obese, sex-starved, inferior poet who smoked cigars and made a spectacle of herself, canvassing the country on lecture tours that drew crowds in the hundreds for her electrifying performances. In fact, Lowell wrote some of the finest love lyrics of the 20th century and led a full and loving life with her constant companion, the retired actress Ada Russell. She was awarded the Pulitzer Prize posthumously in 1926. This provocative new biography, the first in forty years, restores Amy Lowell to her full humanity in an era that, at last, is beginning to appreciate the contributions of gays and lesbians to American’s cultu

In her reassessment of Amy Lowell as a major figure in the modern American poetry movement, Melissa Bradshaw uses theories of the diva and female celebrity to account for Lowell's extraordinary literary influence in the early twentieth century and her equally extraordinary disappearance from American letters after her death. Recognizing Amy Lowell as a literary diva, Bradshaw shows, accounts for her commitment to her art, her extravagant self-promotion and self-presentation, and her fame, which was of a kind no longer associated with poets. It also explains the devaluation of Lowell's poetry and criticism, since a woman's diva status is always short-lived and the accomplishments of celebrity women are typically dismissed and trivialized. In restoring Lowell to her place within the American poetic renaissance of the nineteen-teens and twenties, Bradshaw also recovers a vibrant moment in popular culture when poetry enjoyed mainstream popularity, audiences packed poetry readings, and readers avidly followed the honors, exploits, and feuds of their favorite poets in the literary columns of daily newspapers. Drawing on a rich array of letters, memoirs, newspapers, and periodicals, but eschewing the biographical interpretations of her poetry that have often characterized criticism on Lowell, Bradshaw gives us an Amy Lowell who could not be further removed from the lonely victim of ill-health and obesity who appears in earlier book-length studies. Amy Lowell as diva poet takes her rightful place as a powerful writer of modernist verse who achieved her personal and professional goals without capitulating to heteronormative ideals of how a woman should act, think, or appear.

An authoritative review of literary biography covering the seventeenth century to the twentieth century A Companion to Literary Biography offers a comprehensive account of literary biography spanning the history of the genre across three centuries. The editor – an esteemed literary biographer and noted expert in the field – has encouraged contributors to explore the theoretical and methodological questions raised by the writing of biographies of writers. The text examines how biographers have dealt with the lives of classic authors from Chaucer to contemporary figures such as Kingsley Amis. The Companion brings a new perspective on how literary biography enables the reader to deal with the relationship between the writer and their work. Literary biography is the most popular form of writing about writing, yet it has been largely neglected in the academic community. This volume bridges the gap between literary biography as a popular genre and its relevance for the academic study of literature. This important work: Allows the author of a biography to be treated as part of the process of interpretation and investigates biographical reading as an important aspect of criticism Examines the birth of literary biography at the close of the seventeenth century and considers its expansion through the eighteenth, nineteenth and twentieth centuries Addresses the status and writing of literary biography from numerous perspectives and with regard to various sources, methodologies and theories Reviews the ways in which literary biography has played a role in our perception of writers in the mainstream of the English canon from Chaucer to the present day Written for students at the undergraduate level, through postgraduate and doctoral levels, as well as academics, A Companion to Literary Biography illustrates and accounts for the importance of the literary biography as a vital element of criticism and as an index to our perception of literary history.

A collection of essays that explore the influence, work, and legacy of Pulitzer Prize-winning American poet Amy Lowell.

Originally published in 1926, this book by Clement Wood is a critical study of the creative work and influence of noted American poet Amy Lawrence Lowell (1874-1925), whose “glittering verses, her militant prefaces and critical studies, her constant packed platform appearances had elevated her to a commanding place,” and had earned her a posthumous Pulitzer Prize for Poetry in 1926. Born in Brookline, Massachusetts, Amy Lowell, who was sister to astronomer Percival Lowell and Harvard president Abbott Lawrence Lowell, published her first work in 1910 in Atlantic Monthly. This was followed two years later by her first published collection of her poetry, A Dome of Many-Coloured Glass. An avid adherent to the “free verse” method of poetry, Amy Lowell became one of the major champions of this method of poetry-writing. Throughout her working life, she was a promoter of both contemporary and historical poets. Her 1921 book Fir-Flower Tablets was a poetical reworking of literal translations of the works of ancient Chinese poets, notably Li Tai-po (A.D. 701-762). Her writing also included critical works on French literature. At the time of her death in 1925, she was attempting to complete her two-volume biography of John Keats, of whom she wrote: “the stigma of oddness is the price a myopic world always exacts of genius.”

It is an understatement to say that women are real people with true and great abilities just like men, yet it does seem like forever that we have been debating the rights of women and how they match up against the rights of men. By every reckoning, there is no blockage to the total equality of women to men, yet again, there it is. In spite of everything that has been accomplished, there still exists somewhat of a prejudice. In spite of this prejudice, young women need to know about those great, sometimes not-too-well-known, women who have pushed and prodded and fought like crazy to get todays women to a spot that would have been unheard of only a relatively short time agowomen who deserve the highest praise, and placed in the highest echelons of respect and honor. And even in politics, women have been able to bring more choices for the voters, with more women being elected as mayors, to county and state legislatures, executive offices, congress, and beyond. And despite the hectic pace and all the infighting, there have been far fewer who have been forced to resign because of incompetence or criminality. Many of the women discussed in these pages could have been even more useful and helpful had they not had faced that wordtradition. Elizabeth Cady Stanton and Susan B. Anthony were some team. Their organizational skills and tireless efforts could not have been met with failure. It goes back to Stanton calling a womens rights convention in Seneca Falls, New York, in 1848. Someday we will truly be a land of equality, practicing what it preaches, and the women will get us there. Hopefully, this book will encourage young women of today to keep up the good fight.

Amy Lowell (1874-1925), American poet and critic, was one of the most influential and best-known writers of her era. Within a thirteen-year period, she produced six volumes of poetry, two volumes of criticism, a two-volume biography of John Keats, and countless articles and reviews that appeared in many popular periodicals. As a herald of the New Poetry, Lowell saw herself and her kind of work as a part of a newly forged, diverse, American people that registered its consciousness in different tonalities but all in a native idiom. She helped build the road leading to the later works of Allen Ginsberg, May Sarton, Sylvia Plath, and beyond. Except for the few poems that invariably appear in American literature anthologies, most of her writings are out of print. This will be the first volume of her work to appear in decades, and the depth, range, and surprising sensuality of her poems will be a revelation. The poetry is organized according to Lowell's characteristic forms, from traditional to experimental. In each section the works appear in chronological order. Section one contains sonnets and other traditional verse forms. The next section covers her translations and adaptations of Chinese and Japanese poetry, whereby she beautifully renders the spirit of these works. Also included here are several of Lowell's own Asian-influenced poems. Lowell's free, or cadenced verse appears in the third part. The last section provides samples of Lowell's polyphonic prose, an ambitious and vigorous art form that employs all of the resources of poetry. The release of The Selected Poems of Amy Lowell will be a major event for readers who have not been able to find a representative sampling of work from this vigorous, courageous poet who gave voice to an erotic, thoroughly American sensibility.

"The creator of the new composition in the arts is an outlaw until he is a classic", Gertrude Stein wrote in 1926. Unlike male modernists such as T. S. Eliot or Ezra Pound, the modernist women poets Edith Sitwell, Amy Lowell, Stein and H. D. never became "high" modernist models but remained "artistic outlaws". The present study shows how these women were present on the modernist scene but followed their own concepts and struggled to establish their position as modernist women poets. Defying definition, the four poets not only richly contributed to modernism, but were indeed its developers.

Fascinating, incisive, intelligent and never afraid of being controversial, Elaine Showalter introduces us to more than 250 writers. Here are the famous and expected names, including Harriet Beecher Stowe, Willa Cather, Dorothy Parker, Flannery O'Connor, Gwendolyn Brooks, Grace Paley, Toni Morrison, and Jodi Picoult. And also many successful and acclaimed yet little-known writers, from the early American bestselling novelist Catherine Sedgwick to the Pulitzer Prize-winning playwright Susan Glaspell. A JURY OF HER PEERS is an irresistible invitation to discover great authors never before encountered and to return to familiar books with a deeper appreciation. It is a monumental work that enriches our understanding of American literary history and culture.