DigiCat Publishing presents to you this special edition of "Some Imagist Poets, 1916: An Annual Anthology" by Amy Lowell, John Gould Fletcher, Richard Aldington, D. H. Lawrence, H. D., F. S. Flint. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Over 180 well-chosen Imagist gems appear in this tribute to an important and influential poetic movement of the 20th century. Includes short verse by Pound, Lawrence, Hilda Doolittle, Joyce, Stevens, others.

A clear and incisive account of the Imagists, the first significant group of modernist poets writing in English.

In 'Some Imagist Poets: An Anthology,' readers are presented with a significant collection that encapsulates the essence and diversity of Imagist poetry, a movement known for its clear, concise language and precise imagery. The anthology encompasses a range of literary styles, showcasing the versatility and breadth of the movement. Each poem is a testament to the Imagist principle, offering vivid, sensory experiences crafted with economy and exactness. Standout pieces within the collection serve as exemplars of the Imagists dedication to 'direct treatment of the thing,' whether it is a landscape, a feeling, or an idea. The contributing authorsAmy Lowell, John Gould Fletcher, Richard Aldington, D. H. Lawrence, H. D., and F. S. Flintare pivotal figures in the Imagist movement, each bringing their unique voice and perspective to the collective theme. Their backgrounds, ranging from fervent literary activists to progressive experimenters, converge to present a holistic view of early 20th-century modernism. This anthology aligns with significant historical and cultural shifts, offering insight into the movements adherence to clarity, precision, and the belief in the power of the image. 'Some Imagist Poets: An Anthology' is an indispensable resource for those interested in modernist poetry and the Imagist movement. The collection invites readers to explore a multiplicity of perspectives, themes, and stylistic innovations. It provides a unique educational opportunity to engage with the works of foundational poets, whose contributions have shaped contemporary understandings of poetry's potential. This anthology is not just a reflection of historical literary trends but a dialogue between voices that continue to resonate with relevance and clarity, making it a must-read for scholars and enthusiasts alike.

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

Imagism was a brief, complex yet influential poetic movement of the early 1900s, a time of reaction against late nineteenth-century poetry which Ezra Pound, one of the key imagist poets, described as ‘a doughy mess of third-hand Keats, Wordsworth ... half-melted, lumpy’. In contrast, imagist poetry, although riddled with conflicting definitions, was broadly characterized by brevity, precision, purity of texture and concentration of meaning: as Pound stated, it should ‘use no superfluous word, no adjective, which does not reveal something ... it does not use images as ornaments. The image itself is the speech’. It was this freshness and directness of approach which means that, as Peter Jones says in his invaluable Introduction, ‘imagistic ideas still lie at the centre of our poetic practice’.

In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression—the art collection, the anthology, and the archive—and their importance in the development of institutional and artistic culture in the United States. Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting. Collecting as Modernist Practice demonstrates that modernism's cultural identity was secured not so much through the selection of a canon of significant works as by the development of new practices that shaped the social meaning of art. Braddock has us revisit the contested terrain of modernist culture prior to the dominance of institutions such as the Museum of Modern Art and the university curriculum so that we might consider modernisms that could have been. Offering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of The New Negro anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States. -- John Xiros Cooper, The University of British Columbia