The Woodberry Poetry Room at Harvard University, 1931-1991

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Among Harvard's Libraries: The Woodberry Poetry Room at Harvard University, 1931-1991

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Citation Haviaras, Stratis. 1992. Among Harvard's Libraries: The Woodberry Poetry Room at Harvard University, 1931-1991. Harvard Library Bulletin 3 (3), Fall 1992: 5-12.

Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42663109

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THE W ooDBERRY POETRY RooM AT HARVARD UNIVERSITY, 1931-1991

Stratis Haviaras

eorge Edward Woodberry, in whose G honor the Poetry Room was named, was born in 1855 in Beverly, Massachusetts. He studied at Philips Exeter Academy and then at Harvard, where he became the protege of Professor Charles Eliot Norton and the poet James Russell Lowell. The young undergraduate, "whose health and purse were alike poor" and who had already lost a year in college, is said to have been hired by Lowell to catalog his personal library. Woodberry ac- knowledged Norton and Henry Adams as his most influential teachers. "[Adams] was my teacher at Harvard, and 'formed' my mind on its intellectual side, as Norton did on the aes- thetic," he wrote to Lewis Einstein in 1919. Figure1 . Graduationphoto ,f George In other letters Woodberry recalls writing Edward Woodberry.(Courtesy of Har- poems as early as age thirteen; he went on to vard UniversityArchives.) publish his first poems in The Atlantic Monthly, at that time edited by William Dean Howells, There he developed and headed the depart- and to serve as editor of The Harvard Advo- ment of comparative literature until, follow- cate. His class oration, "The Relation of Pallas ing a dispute with the administration, he Athene to Athens," was cancelled at the last resigned in 1904. While at Columbia he pub- minute because members of the faculty were lished two volumes of poetry, two collections STRATISHAVIARAS is Curator concerned that the most conservative part of of essays, editions of the works of Shelley and of the George Edward Wood- the audience might misinterpret it as "too pa- Poe, a literary history, and his biographies of berry Poetry Room and the gan." The oration was printed in 1928 in an Hawthorne and Emerson. In 1903 he edited Henry Wes ton Farnsworth edition of thirty copies by the Signet Society the first issue of the Journal of ComparativeLit- Room in the Harvard College (Figure 1). erature.Woodberry's classes at Columbia were Library. Woodberry graduated from Harvard in much sought after, and for several years he 1877 and that summer took his first trip to the was chosen as the most popular professor. Mediterranean. "What a blessing it was that I "He had the miraculous gift of making poetry was dipped in Castalia when I was young! I alive and attractive to large masses of fairly began Greek at my thirteenth year, I think, average boys," recalls one of his students; an- and the world began to brighten up right off, other, John Erskine, recalls that Woodberry though there was light before; and after that "constantly tried to open their minds and in- 'twas Greek all the way," he wrote to J. H. crease their sympathies for the world at large McDaniels. In September of the same year he and especially toward the new America, the accepted an appointment as professor of En- possible America which should be not New glish at the University of Nebraska. He con- England nor the South nor exclusively tinued to publish poems and articles in The Anglo-Saxon, but an amalgamation of ener- Atlantic Monthly and The Nation and for a gies and ideals." In 1905 a group ofhis former while served as the literary editor of The Bos- students founded the Woodberry Society in ton Post. His biography of Edgar Allan Poe Beverly. was published by Houghton Mifilin in 188 5 A living monument by now, Woodberry to considerable acclaim, and in 1891, on the returned to Beverly to devote his energy to recommendation of James Russell Lowell, he writing, editing, and reviewing, often taking joined the faculty of Columbia University. time to travel to southern Italy, Greece, Asia Minor, and North Africa. Harvard awarded This article incorporates material from earlier articles on the him an honorary degree in 1911. "As for my- Woodberry Poetry Room, written by John Lincoln Sweeney self, I had Henry James next to me, who and Jeanne Broburg. 6 HARVARD LIBRARY BULLETIN

occasions Woodberry discussed this with his long-time friend Harry Harkness Flagler of New York, and their talks and correspondence brought forth the vision of a comfortable, unlibrarylike room where students and faculty might find on tables and shelves the poetry of their own century, which at that time had not yet entered the college curriculum. Things began to change in 1925, though, when the Charles Eliot Norton Professorship of Poetry was inaugurated, commemorating Woodberry's great teacher. Change gained momentum when in January 1929 Morris Gray ofBoston (also Class of 1877) offered the College Library a fund of$40,ooo for the pur- chase of books of current verse and for occa- sional talks or lectures on modem poetry.

Figure 2. LAying the cornerstonefor Three months later, Woodberry was invited WidenerLibrary in 1913. (Courtesyof to give the first lecture under the auspices of Harvard UniversityArchives.) the Morris Gray Fund. This is how the poet- scholar himself describes that event in a letter received the same degree, and put his arm to Mrs. Irving S. Underhill: " 'Twas in over my shoulders most of the time. John T. April- I went up to Harvard, to the Library Morse was the other side; and we had a good and gave a talk to about forty undergraduates deal of talk all the time. The greatest surprise on poetry, who were 'invited' to hear me, on to me was when the orator, 'saluting' the au- the basis of a new poetry fund given by a class- dience, picked me out and made a little mate. It went off all right, apparently, and I personal welcome in Latin! I was quite unpre- wasn't the least tired by it-no after effects! pared for that-and it gave the Harvard Fac- Doesn't that deserve a Bravo! and a Viva! I had ulty an opportunity to applaud me," he wrote lunch with my old professor, Palmer; and they to Mrs. George Sawyer Kellogg. sent down an auto to take me up and bring me Two years later, at Commencement 1913, home, after which I smoked a quiet cigar, said Woodberry was the Phi Beta Kappa poet at 'Ben Fatto!' and slept. That was when I was the literary exercises: "And, getting to my seventy-three-what will the New Year poem by the end of the week, availed myself bring?" On January 2, 1930, George Edward of what grace the Muses had to spare for their Woodberry died in a Beverly hospital after a vagabond. I gave it at Sanders, the lowest part brief illness. well filled and the upper gallery partly. Previ- The vision shared by Woodberry and ously we had laid the cornerstone of the new Flagler was not long in materializing. On May library in the broiling sun - granite all about 26th, 1931, the Woodberry Poetry Room us, derricks, etc. It was picturesque-on one opened on the third floor ofWidener Library. tall pile of stone, the students in their gowns By all accounts, from 1931 to 1949 it was one and ribbons and on another the Italian work- of the warmest and most welcoming spots in men and boys, vivid contrast to the two cones Widener. It had open shelves, comfortable (?) of humanity, and in the midst of the main chairs, and good lighting. Along one wall group, Mrs. Widener with her trowel, other were some of the books from Amy Lowell's Wideners, the president, orator, etc., and personal library. In 1949, through a second myself in the front row. I thought to myself grant from Flagler, the Poetry Room was re- how much happier I should be and more fit located to more spacious and elegant quarters with the Italians! But comforted myself, mus- in the newly built Lamont Library and Amy ing that it was for their bambini that we were Lowell's books were transferred to Houghton laying the stone." (Figure 2) Library. Lowell's collection has been de- It had been Woodberry's constant regret scribed as a fascinating mixture ofliterary es- that so many undergraduates were passing sences and accidents, and its presence in the through Harvard without sufficiently realizing Poetry Room during the early years, together that poetry is primarily for pleasure. On several with the Morris Gray lectures and readings Among Harvard's Libraries 7

Figure 3. The Woodberry Poetry Room in 1932. (Courtesy of Haward UniversityArchives.) that took place there for invited audiences, Martha Dickinson Bianchi on "Emily helped to establish the character of this unique Dickinson" (1929-30); poetry library. (Figure 3) Theodore Morrison on "Poetry from the Another milestone in the growing interest Point ofView of the Magazine Editor as well in modern poetry at Harvard was the appoint- as that of a Writer" (1930-31); ment of T. S. Eliot to the Charles Eliot Norton Professorship for the academic year I. A. Richards on "An Ideal Poetry Room" 1932-33. Harry Levin, Irving Babbitt Profes- (1930-31); sor of Comparative Literature Emeritus, describes Eliot's "firm impact" in his eloquent Louis V. Ledoux on "George Edward essay "From Bohemia to Academia: Writers Woodberry" (1930-31); in Universities," published in the Bulletin of Harvey Allen on "Amy Lowell" (1931-32); the American Academy of Arts and Sciences. In 1934 the administration of the Morris Theodore Spencer on "The Poetry ofT. S. Gray Fund was handed over to the English Eliot" (1931-32); Department, and a committee of three members of that department has selected the speak- Padraic Colum, Conrad Aiken, Archibald ers since. The initial committee consisted of MacLeish, Sean O'Casey, Robert Frost,John Robert Hillyer, chairman (and the first poet Crow Ransom, F. 0. Matthiessen-the list to hold the Bolyston Chair of Rhetoric and goes on. Oratory since its founding in 1772), Theodore To return to the Poetry Room: readings, Morrison, and another poet, Theordore Spen- lectures, publications, discussions-scattered cer. In 1945, Spencer became chairman, with records indicate fermentation and verve, re- Theodore Morrison and F. 0. Matthiessen as markable men and women ofletters, fabulous fellow members. Among the early luminaries literary anecdotes and minutiae. Professor of the Morris Gray Fund were: Levin, an eyewitness (he was an undergraduate from 1929 to 1933, when the Woodberry George Edward Woodberry, lecturing on Poetry Room was opened on the top floor of "The Purpose of the Morris Gray Fund, and Widener), wrote to this author: "As I look the Place of Poetry in the Life of College back, I can now see how significantly the Undergraduates" (1929); opening was timed: Harvard was officially Robert Hillyer on "Robert Bridges and his recognizing modern poetry .... And it was 'Testament ofBeauty'" (1929-30); Ted Spencer and F. 0. Matthiessen (both 8 HARVARD LIBRARY BULLETIN

fated to die quite young) who really brought it into the English curriculum, and their ef- forts were crowned by T. S. Eliot's year as Norton Professor." For a short period at the outbreak of the Second W odd War a group of students concerned with contemporary poetry held monthly meetings in the old Poetry Room, but by the end of 1943 the armed forces had drawn away almost all of them. At the end of the war there was a brief revival of these meetings with a group of young poets, one of whom, Richard Wilbur, is now the author of many distinguished volumes of poetry and a Poet Laureate of the United States-and re- mains a close friend and supporter of the Woodberry Poetry Room. W. N. Bates, Jr., of the Class of 1930, George M. Kahrl, Arthur T. Hamlin of the Class of 1934, Arnold M. Kenseth, and Philip Horton were the Poetry Room's first five Figure4.John LincolnSweeney, sixth curator of the Woodberry Poetry curators. Throughout the first sixty years of Room. (Courtesyof Harvard Univer- the room's history, until August IO, 1990 sity Archives.) when the Poetry Room was downgraded to a division, the curators reported directly to the haste to tell you so as to call a halt before Librarian. George P. Winship, Keyes Metcalf, you have taken too much trouble on my Paul Buck, Douglas Bryant, Louis Martin, behalf I shall be seeing the President to Lawrence Kipp, and Y. T. Feng recognized thank him Sunday evening. I want to the Poetry Room as a library unit of the Col- thank you for your friendliness now. lege Library system, and took an active interest in its collections, programs and services. Cordially yours There were instances in which the president Robert Frost of Harvard University took a personal interest in the affairs of the Poetry Room, for ex- ample, when James Bryant Conant offered Frost gave five Morris Gray readings at the curatorship to Robert Frost in 1942. Harvard-more than any other poet. And Frost's reply: though Frost turned down the curatorship, a new era began nevertheless for the 3 5 Brewster Street Woodberry Poetry Room with the appoint- Cambridge ment of John Lincoln Sweeney as curator. April 17, 1942 Jack Sweeney was a native ofBrooklyn, New York, and attended Georgetown University Dear Mr. Metcalf: and Cambridge University, where he studied I am grateful to you and the President for under the direction of I. A. Richards. In 1942 your attempt to stretch the Library to take he became curator of the Poetry Room and me under its eaves. But the more I think lecturer in General Education and in English. of it the less I see myself as a possibility for In 1949 he oversaw the relocation of the your Poetry Room. I doubt if my place is Woodberry Poetry Room to its new quarters among books exclusively of poetry and designed by the renowned Finnish architect phonograph records of the voices of po- Alvar Aalto (on the fifth level of Lamont Li- ets. I never listen to phonograph records brary). Sweeney established the new room's even of my own voice; and I never talk philosophy and function within the College or write literary criticism. My sort of thing Library and the University, and he endowed might be called the philosophical causerie. it with an international reputation. He died at It's only natural you wouldn't have heard. eighty in County Clare, Ireland, in 1986. He David Little or David McCord could ex- served twenty-seven years as the room's sixth plain the nature of the animal. I make curator. (Figure 4) Among Harvard's Libraries 9

Figure 5. The Woodberry Poetry Room in 1949, with furnishings designed by A/var Aalto. (Courtesy of Harvard UniversityArchives.)

When Alvar Aalto accepted the commis- room open to students, there is a small sion to design the Poetry Room in Lamont, private office for the curator. Both rooms he said quite simply that he would design "a retain the basic simplicity of the general place for poetry." Sixty years later, the Poetry building plan, but the room has a few fe- and the Place are one. Aalto's guiding purpose licitous touches that lift it above the ordi- was to create an arrangement of space, color, nary: a bookcase wall that steps forward and texture that would distinguish this room and back (allowing access to other rooms from the rest of the library without impairing and storage space beyond) rather than the character of the total interior design of the simply paralleling the wall, a dramatically building. In its February 1979 issue, Interiors angular ash-and-glass display vitrine by magazine published an article, written by the the entrance, a handsome enclosure (for editor, Stanley Abercrombie, and accompa- record storage) of decorative wood nied by several color photographs of the Po- grillework. etry Room and its features: Most of the furniture is, expectedly, of Aalto design, manufactured by Artek in Exactly thirty years ago this month, a Sweden. (It was not possible, at the time, room for the study of books and records to export directly from Finland to the of contemporary poetry was opened in United States.) Many of these designs, Harvard University's then-new Lamont now made by Artek in Finland, are still Library. Although designed by Finland's available in this country through I.C.F. famous modern master Alvar Aalto, with There are, in addition, a number of fabrics designed by his wife Aino (who cabinets custom-designed by Aalto for the died one month before the room was fin- Woodberry room, the most unusual of ished), it has received remarkably little which are four octagonal record cabinets, publicity in the architectural and interior each with equipment for eight students to design press. No standard book on Aalto's listen to a single recording. The glass- work includes it. Remarkable, too, is the topped covers are counterweighted and admirable state of the room's preserva- can be raised vertically with little effort, tion, thanks largely to the affectionate care even after three decades of use. (Figure 5) of the present curator, poet Stratis Haviaras, and of his predecessors. The role of sound recordings in the enjoy- In addition to a large reading-listening ment and understanding of poetry was IO HARVARD LIBRARY BULLETIN

observed by T. S. Eliot on the sleeve of the Bly, Donald Hall, Kenneth Koch, and Frank recording of his "Four Quartets," released by O'Hara, among others, read, listened, and the Gramophone Company Ltd. in 1947. wrote in the Woodberry Poetry Room dur- Eliot wrote: ing their student years at Harvard. Currently, over thirty students and teachers per day A recording of a poem read by its author spend time in the Poetry Room reading, is no more definitive an interpretation writing, meeting, or listening to recordings than a recording of a symphony con- (constituting a steady IO% annual increase), ducted by its composer. The poem, ifit is and many others borrow materials for study of any depth or complexity, will have at home. meanings in it concealed from the author; A poet and a translator of major Greek and and should be capable of being read in Latin classics, Robert Fitzgerald brought fur- many ways, and with a variety of emo- ther renown to the Woodberry Poetry tional emphases. A good poem, indeed, is Room, and in 1972 the Mary Flagler Cary one which even the most accomplished Trust made an additional gift of $rno,ooo, reading cannot exhaust. What the record- enabling the Poetry Room to cover a greater ing of a poem by its author can and should part of its costs and to extend its hours from preserve, is the way that poem sounded to 5 to IO P.M. In the same year, Fitzgerald sub- the author when he had finished it. mitted his resignation as curator of the Between 1931 and 1947 Professor Frederic Poetry Room in order to meet his teaching C. Packard made several recordings of Eliot demands and devote more time to his own lit- for the Poetry Room, and a good selection erary work. from these was released under the label of the That year, Jeanne Broburg, a long time as- Harvard Vocarium.The V ocarium series, dis- sistant to Jack Sweeney and Robert Fitzgerald, continued in the early 1950s, included dozens was named curator. A trained librarian, Ms. of poets who came to read or lecture at Har- Broburg took excellent care of the room's vard. Whereas the Poetry Room's book and day-to-day needs during that period of tran- magazine collections focus on the poetry and sition. Ill health compelled Jeanne to take poetics of the English-speaking world, its re- early retirement only two years later. Her de- corded archive is international, and is consid- votion to the job and her cheerful presence ered second only to that of the Library of will be remembered for years to come. Congress. The present curator and author of this ar- By 1960 contemporary poetry had been es- ticle held a number of clerical posts in Wid- tablished in the college curriculum in an im- ener Library starting in 1968. Following his pressive way: poet Archibald MacLeish had appointment to the Woodberry Poetry succeeded Theodore Spencer (Hillyer's suc- Room in 1974, he embarked on a long-range cessor) as Boylston Professor of Rhetoric and plan to streamline book selection and update Oratory. By the end of that decade Robert reference services, to preserve early record- Lowell and Elizabeth Bishop held teaching ings, and to introduce new services or revive appointments at Harvard, and several younger old ones that had been discontinued in the poets and authors conducted regular writing 1950s and 1960s. workshops for undergraduates as Briggs- Although the recorded archive is perma- Copeland lecturers. Robert Fitzgerald was nently kept in the Poetry Room, the printed MacLeish's successor. materials are renewed, as each year several Following Sweeney's retirement in 1969, hundreds of books and periodicals are trans- the curatorship of the Poetry Room went to ferred to the Widener stacks, thus enriching Fitzgerald, who often used the authority of Harvard's great research collection and free- his Boylston Professorship to urge faculty ing shelf space in the Poetry Room for new and students to appreciate and learn from the acquisitions. Coordination in book selection room's unique collections and services. between the curator and the Widener Library Thus, while for many users poetry books, re- bibliographers has resulted in the elimination cordings, and little magazines continued to of duplicate book and magazine titles and in be a matter of pleasure and personal enrich- considerable savings. ment, a number of others began to discover Forty-three years after the discontinuation in these materials new tools ofinstruction. In oflectures and readings in the Poetry Room, addition to Richard Wilbur, the poets an endowment from Corliss Lamont made Theodore Roethke, John Ashbery, Robert their revival possible, and in the past fourteen Among Harvard's Libraries II

years more than 120 poets and writers have Lamont's Forum Room to capacity. Each read from their works, among them Richard year, the Academy of American Poets ships Wilbur, Seamus Heaney,James Merrill,John to the Poetry Room at least fifty new re- Ashbery, Louis Simpson, John Hollander, cordings of the lectures and readings it spon- Louise Gluck, Ellen Bryant Voigt, Rita Dove, sors at the Guggenheim Museum, the Jorie Graham, Joseph Brodsky, and Miroslav Donnell Library, and elsewhere. Holub. These poets have enriched life in the In 198 5, almost forty years after their can- College and made valuable additions to the cellation, informal meetings of poets and writ- recorded archive. ers began anew in the Woodberry Poetry In the 1970s it became apparent that more Room. Participants included novelist Alfred than 1,500 older recordings on disk or mag- Alcorn, poet and novelist Stephen Dobyns, netic tape needed remastering and other pres- poets Paul Hannigan, Mary Karr, and Fred ervation work, requiring the expenditure of Marchant, critic Sven Birkerts, the Curator, thousands of dollars beyond the Poetry and Ellen Wilbur, the short story writer who Room's annual budget. A gift from poet and is the daughter of a participant from the r 940s, longtime friend of the Poetry Room James poet Richard Wilbur. Merrill made possible the installation of a The 1980s also saw the introduction of small audio lab in Lamont. The Poetry Room video recordings in the Poetry Room and the now has an on-going program to save early publication of Erato/Harvard Book Review, a glass-coated disks and acetate tapes from self- magazine of criticism and new writing that in destruction and routinely remasters every re- its first five years carried the works of more cording at regular intervals. than forty poets and writers affiliated with In 1978, twenty-five years after the suspen- Harvard. In 1992, Erato was transformed into sion of the Harvard Vocarium series, the a larger, more ambitious, innovative periodi- Woodberry Poetry Room resumed its pub- cal, the Harvard Review, published jointly by lishing activity with a six-cassette album of the Continuing Education Department, the poetry readings, entitled "The Poet's Voice" Expository Writing Program, and the and released through Harvard University Woodberry Poetry Room. Press. Another series, recently launched di- Fund-raising has been pursued vigorously, rectly from the Poetry Room, includes and in the year of Jack Sweeney's death a me- "Vladimir Nabokov at Harvard" and "Sea- morial fund in his name was established in the mus Heaney at Harvard." Though lacking Poetry Room. A gift by alumnus Sean national distribution, these boxed, two-cas- Sweeney, the former curator's nephew, and sette albums have been selling well enough to proceeds from benefit readings were added to support a continuing publishing program. the fund in 1989 and 1990. The first two releases were co-edited by Other new funds include the David and Michael Milburn, who shortly after graduat- Mimi Aloian Fund, the Touroff-Glueck ing from Harvard began to do volunteer work Fund, the Will Oursler Fund, and the Ruth in the Poetry Room. For nearly ten years, Geraldine Ashen Fund, created by Edwin until he moved to Syracuse, New York, in Williams, for many years a senior associate the year of the room's sixtieth anniversary, librarian at Harvard College and editor of the Mr. Milburn served with distinction as assis- Harvard Library Bulletin.Just a year ago Daniel tant to the Curator. A. Pollack of New York designated his 1982 In 1984, the Academy of American Poets, 25th Reunion gift and its subsequent accumu- the foremost national organization of poetry, lated income as the Daniel A. Pollack, Class after conducting a survey of sister institutions of r 960, Poetry Fund, to be "used to support, and the state of their recorded archives, preserve, and acquire poetry books, record- decided to deposit its entire audio tape col- ings, audiovisual materials and the like in the lection at Harvard's Poetry Room. The two Harvard College Library," with a final clause institutions worked together to raise the stating that "preference shall be given to the necessary funds for the collection's remaster- maintenance and expansion of materials in the ing and bibliographic annotation and cata- Woodberry Poetry Room at Lamont Li- loging. The transfer coincided with the brary." Daniel Pollack's name has taken its academy's fiftieth anniversary, and both oc- place in the Pleiade of donors and benefactors casions were celebrated at Harvard with a whose stars shine on, overseeing poetry-in- joint reading by Seamus Heaney and James the-making for six decades so far and for a Merrill and a great reception that filled long time to come. 12 HARVARD LIBRARY BULLETIN

BIBLIOGRAPHY

Abercrombie, Stanley. "Woodberry Poetry Ledoux, Louis V. GeorgeEdward Woodberry:A Room: A Little-Known 1949 Design of the Study of his Poetry. Cambridge: The Poetry Late Finnish Master is a Harvard Treasure." Review Company, 1917. Interiors(February 1979): 74-75. Levin, Harry. Matty at Eliot House. Published by Broburg,Jeanne. "The Poetry Room at Harvard the Friends of the F. 0. Matthiessen Room University." RecordedSound 23 (July 1967). (no date).

Eliot, T. S., "Author's Note." Language Study ---. "From Bohemia to Academia: Writers Leaflet no. rn7, distributed with The Four in Universities." Bulletin of the American Acad- Quartets, a 33 RPM record released by the emy efArts and Sciences44 (January 1991). Grammaphone Co., Ltd., 1947. Pritchard, William. "George Edward Wood- Erskin, John. GeorgeEdward Woodberry:An Ap- berry." In his Return to the Fountains: Some preciation.New York: New York Public Li- Classical Sources of American Criticism. brary, 1930. Durham: Duke University Press, 1942. GeorgeEdward Woodberry:Selected Letters. With Spencer, Theodore. "The Morris Gray Poetry an introduction by Walter De La Mare. Bos- Readings." Harvard Library Bulletin 2 (1948): ton: Houghton Miillin, 1933. l 16-20.

George Edward Woodberry:Selected Poems. Bos- Sweeney, John Lincoln. "The Poetry Room at ton: Houghton Miillin, 19 3 3. Harvard University." Harvard Library Bulle- Kellock, Harold. "Woodberry- a Great Teacher." tin 8 (1954): 65-73- I11eNation (January 29, 1930): 120-22.