Notes

Introduction

1. Frost to Harcourt, 12 August 1915, quoted in Thompson, Robert Frost, 56. 2. The Critic, 46 (January–June 1905), 263–78. 3. Quoted in Lawrance Thompson, Robert Frost: The Years of Triumph, 1915– 1938 (New York: Holt Rinehart & Winston, 1970), 3. 4. Quoted in Amy Lowell, Tendencies in Modern American Poetry (New York: Houghton Mifflin, 1917), 131. Ezra Pound published the first American review of Frost’s A Boy’s Will in Poetry: A Magazine of Verse, 1 (May 1913) 2, 72–73. 5. William Braithwaite, “A Poet of New England: Robert Frost, A New Exponent of Life,” BET, 28 April 1915 and 8 May 1915. Jessie B. Rittenhouse, “North of Boston,” NYT Book Review (16 May 1915), 189. 6. Louis Untermeyer, “Robert Frost’s ‘North of Boston,’ ” Chicago Evening Post (23 April 1915), 11. 7. Clement Wood, Amy Lowell (New York: Harold Vinal, 1926), 4. 8. Quoted in James Hoopes, Van Wyck Brooks: In Search of American Culture (Amherst: University of Massachusetts Press, 1977), 77. 9. Little consensus exists among historians over the precise meaning of the term “progressive.” I employ it here to indicate an era, ranging roughly from 1893 to 1920, that witnessed culture- wide reform movements to reshape American society by addressing large- scale problems of indus- trial organization as well as issues surrounding individual rights and responsibilities. While falling under the ideological rubric of liberalism, progressive reform involved a middle class that at times instituted con- servative measures. See Daniel Rodgers, “In Search of Progressivism,” Reviews in American History, 10 (December 1982) 4, 113–32; John Milton Cooper, Pivotal Decades: The United States 1900–1920 (W.W. Norton, 1990); Maureen Flanagan, America Reformed: Progressives and Progressivisms, 1890s–1920s (New York: Oxford University Press, 2007) and Susan Curtis, A Consuming Faith: The Social Gospel and Modern American Culture (Baltimore, MD: Johns Hopkins University Press, 1991). 10. Vachel Lindsay, Adventures While Preaching the Gospel of Beauty (New York: The MacMillan Co., 1928 [1914]), 15–17. 11. Lindsay, Adventures, 15–17. 12. Lindsay, Adventures, 184. 13. Percy Bysshe Shelley, A Defence of Poetry (Indianapolis: The Bobbs- Merrill Company, 1904 [1815]): 34–35. 14. Fyodor Dostoevsky, The Idiot (New York: The Macmillan Co., 1913 [1868]), 528; Friedrich Nietzsche, Twilight of the Idols (New York: Penguin, 2003 [1889]), 89.

225 226 Notes to Pages 6–10

15. Jeffrey Sklansky, The Soul’s Economy: Market Society and Selfhood in American Thought, 1820–1920 (Chapel Hill: University of North Carolina Press, 2001). 16. Ralph Waldo Emerson, “The Poet,” Emerson’s Prose and Poetry. Eds. Joel Porte and Saundra Morris (New York: W.W. Norton, 2001). Also see Robert D. Richardson, Emerson: The Mind on Fire (Los Angeles: University of California Press, 1994). 17. The phrase “lived experience” and the notion of examining poetry as a means to access what individuals in the past thought and felt about ideas comes from Jennifer Ratner-Rosenhagen who read this introduction and provided critical advice. Ratner- Rosenhagen uses the phrase and meth- odology in her essay, “Conventional Iconoclasm: The Cultural Work of the Nietzsche Image in Twentieth- Century America,” Journal of American History, 93 (December 2006) 3, 728–54. 18. Darnton, “The Great Cat Massacre,” 216. 19. See Leah Price, “Reading: The State of the Discipline,” in Book History, Volume 7. Ed. Ezra Greenspan and Jonathan Rose (University Park: Pennsylvania State University Press, 2004), 303–20. 20. Jonathan Rose, The Intellectual Life of the British Working Classes (New Haven: Yale University Press, 2001). 21. My understanding of the intimate relationship between reading and self- transformation has been deeply influenced by Barbara Sicherman, “Reading and Ambition: M. Carey Thomas and Female Heroism,” American Quarterly 45 (March 1993) 1, 73–103, and Helen Lefkowitz Horowitz, “ ‘Nous Autres’: Reading, Passion, and the Creation of M. Carey Thomas,” Journal of American History 79 (1992), 68–95. These essays were published in Sicherman, Well-Read Lives: How Books Inspired A Generation of American Women (Chapel Hill: University of North Carolina Press, 2010). 22. Kate Flint, The Woman Reader, 1837–1914 (Oxford: The Clarendon Press, 1993). 23. Daniel Wickberg traces the historiography of sensibility in “What Is the History of Sensibilities? On Cultural Histories, Old and New,” American Historical Review (June 2007), 661–84. 24. Elizabeth McHenry, Forgotten Readers: Recovering the Lost History of African American Literary Societies (Durham: Duke University Press, 2002). 25. Deborah Gray White, Too Heavy A Load: Black Women in Defense of Themselves, 1894–1994 (New York: W.W. Norton, 1999), Sarah Ruth Offhaus, “Mary Talbert and the Phyllis Wheatley Club,” Buffalo Rising, 19 June 2010, and Encyclopedia of the Harlem Renaissance, Vol. 2. Eds. Cary D. Wintz and Paul Finkelman (New York: Routledge, 2004), 903. 26. Du Bois, Souls, 109. 27. My thanks to Daniel Albright for his interpretation of this passage. 28. James Oppenheim to James Weldon Johnson, 18 December 1930, JONY. 29. Braithwaite, “Arcturus,” 3 (1942) 1, 40 and 3 (1941) 2, 186. 30. Some book historians speak of quixotic reading and reading protocols as a way to challenge the passive connotations of reading “reception.” Notes to Pages 10–11 227

See Tabitha Gilman Tenney, Female Quixotism, Ed. Jean Nienkamp and Andrea Collins (New York: Oxford University Press, 1992), 2–14. 31. Barbara Sicherman makes this argument in “Sense and Sensibility: A Case Study of Women’s Reading in Late-Victorian America,” where she analyzes the subjective uses of reading among late-Victorian upper- middle-class women during the Progressive era in transgressing tradi- tional gender expectations. Sicherman quotes “structures of feelings” from Raymond Williams. In Reading in America. Ed. Cathy Davidson (Baltimore, MD: Johns Hopkins University Press, 1989), 201–25. 32. Michael Bell discusses the importance of feelings—accessed through an examination of responses to literature—in understanding the past and traces the fate of sentimentalism in Sentimentalism, Ethics and the Culture of Feeling (New York: Palgrave Macmillan, 2000). 33. Angela Sorby, Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865–1917 (Durham, NC: University of New Hampshire Press, 2005). 34. Elaine Scarry, On Beauty and Being Just (New York: Princeton University Press, 1999); Martha Nussbaum, Poetic Justice: The Literary Imagination and Public Life (New York: Beacon Press, 1997); Alexander Nehamas, Only A Promise of Happiness: The Place of Beauty in a World of Art (New York: Princeton University Press, 2007); Denis Donoghue, Speaking of Beauty (New Haven, CT: Yale University Press, 2003); Dennis Dutton, The Art Instinct: Beauty, Pleasure, and Human Evolution (New York: Oxford, 2009); Daniel Borus, Twentieth Century Multiplicity (New York: Rowman & Littlefield, 2009); Jane Bennett, The Enchantment of Modern Life: Attachments, Crossings, and Ethics (New York: Princeton University Press, 2001); George Levine, Darwin Loves You: Natural Selection and the Reenchantment of the World (New York: Princeton University Press, 2006); and Eleanore Belfiore and Oliver Bennett, The Social Impact of the Arts: An Intellectual History (New York: Palgrave Macmillan, 2008). 35. Martha Nussbaum, “Education for Profit, Education for Freedom,” Liberal Education (Summer 2009), 12 [6–13], Richard Rorty, Contingency, Irony, and Solidarity (New York: Cambridge University Press, 1999 [1989]), xvi. 36. Cary Nelson, Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory, 1910–1945 (Madison: University of Wisconsin Press, 1989). See also Leonard Diepeveen, The Difficulties of Modernism (New York: Routledge, 2002); John Timberman Newcomb, Would Poetry Disappear? American Verse and the Crisis of Modernity (The Ohio State University Press, 2004); Michael Thurston, Making Something Happen: American Political Poetry between the World Wars (Chapel Hill: University of North Carolina Press, 2000); Mark Van Wienan, Partisans and Poets: The Political Work of American Poetry in the Great War (New York: Cambridge University Press, 1997); and Geoffrey Jacques, A Change in the Weather: Modernist Imagination, African American Imaginary (Amherst: University of Massachusetts Press, 2009). See also Twentieth Century Poetry. Eds. Dana Gioia, David Mason, Meg Schoerke (New York: McGraw Hill, 2003). 37. Suzanne Clark, Sentimental Modernism: Women Writers and the Revolution of the World (Bloomington: Indiana University Press, 1991); Paula 228 Notes to Page 12

Bennett, Poets in the Public Sphere: The Emancipatory Project of American Women’s Poetry, 1800–1900 (New York: Princeton University Press, 2003); Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction 1790– 1860 (New York: Oxford University Press, 1986); and Cheryl Walker, Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets (Bloomington: Indiana University Press, 1991). 38. Marshall Berman, All That Is Solid Melts Into Air (New York: Simon & Schuster, 1982), 5. 39. Floyd Dell, Homecoming: An Autobiography (New York: Harcourt, Brace & Co., 1939), and Hutchins Hapgood, A Victorian in the Modern World (New York: Farrar & Rinehart, 1933). Since then, several revisionist stud- ies examining canon formation have appeared, including Paul Lauter Canons and Contexts (New York: Oxford University Press, 1991); Barbara Foley, Radical Representations: Politics and Form in United States Proletarian Fiction, 1929–1941 (Durham, NC: Duke University Press, 1993); and Walter Kalaidjian, American Culture between the Wars: Revisionary Modernism and Postmodern Critique (New York: Columbia University Press, 1994). Nelson continues to repair the breach through his “Modern American Poets” website at the University of Illinois, Urbana-Champaign, by including the works of neglected poets from the 1900s through the 1920s. 40. Lawrence Rainey, Institutions of Modernism: Literary Elites and Public Culture (New Haven, CT: Yale University Press, 1999); Susan Friedman, “Definitional Excursions: The Meanings of Modern/Modernity/ Modernism,” Modernism/Modernity, 8 (September 2001) 3, 493–513; Peter Nicholls, Modernisms: A Literary Guide (Berkeley: University of California Press, 1995) and Modernisms: 1900–1950. Eds. Steven Gould Axelrod and Camille Roman (New Brunswick, NJ: Rutgers University Press, 2005). 41. Henry May, The End of Innocence: A Study of the First Years of Our Own Time, 1912–1917 (New York: Columbia University Press, 1992 [1959]). 42. “Ugliness” had become a controversial subject since Victor Hugo’s famous 1827 preface to his play “Cromwell,” which aired his fascination with the many types of ugliness. In the 1860s Baudelaire continued this fascination, urging writers to look not to the ancients but to contempo- rary life in all its strangeness; for him, creating beauty entailed creat- ing ugliness as well. For more information, see Virginia Swain, Grotesque Figures: Baudelaire, Rousseau, and the Aesthetics of Modernity (Baltimore, MD: Johns Hopkins University Press, 2004). 43. Robert Crunden, American Salons: Encounters with European Modernism, 1885–1911 (New York: Oxford University Press, 1993), xi–xii. 44. See also Malcolm Cowley, After the Genteel Tradition (New York: W.W. Norton, 1937); Van Wyck Brooks, America’s Coming- of-Age (New York: B. W. Huebsch, 1915); Howard Mumford Jones, The Age of Energy: Varieties of American Experience, 1865–1919 (New York: Viking, 1971); Willard Thorp, “Defenders of Ideality,” in Literary History of the United States. Ed. Robert Spiller et al. (New York: Macmillan, 1963), 809–26; and John Tomsich A Genteel Endeavor: American Culture and Politics in the Gilded Age (Stanford: Stanford University Press, 1971). Notes to Pages 13–14 229

45. George Cotkin, Reluctant Modernism (New York: Rowman & Littlefield, 1992). 46. Joseph Freeman, An American Testament (NJ: Quinn and Boden Company, 1936), 85, 270, vii. 47. See Frank Kermode Romantic Image (New York: Macmillan, 1957); Robert Langbaum, The Modern Spirit: Essays on the Continuity of 19th and 20th Century Literature (New York: Oxford University Press, 1970); George Bornstein, Transformations of Romanticism in Yeats, Eliot, and Stevens (Chicago: University of Chicago Press, 1976); Harold Bloom, The Anxiety of Influence (New York: Oxford University Press, 1973); Albert Gelpi, A Coherent Splendor: The American Poetic Renaissance, 1910–1950 (New York: Cambridge University Press, 1999); Louis Menand, Discovering Modernism: T. S. Eliot and His Context (New York: Oxford University Press, 1987) and Carol Christ, Victorian and Modern Poetics (Chicago: University of Chicago Press, 1984). 48. Jerome McGann, The Textual Condition (New York: Princeton University Press, 1991); Pierre Bourdieu, The Field of Cultural Production (Columbia University Press, 1993); Terry Eagleton, Literary Theory (Minneapolis: University of Minnesota Press, 1996); and Peter McDonald, “Ideas of the Book and Histories of Literature: After Theory?” PMLA (January 2006), 214–28. 49. William Charvat, Literary Publishing in America (Philadelphia: University of Pennsylvania Press, 1959), and Robert Darnton, “What Is The History of Books?” in The Kiss of Lamourette: Reflections in Cultural History (New York: W.W. Norton, 1990). Roger Chartier argues against the notion that texts have “stable, universal, fixed meaning,” insist- ing instead that readers construct their own significance. Chartier traces an “order of discourse,” that is, the underlying principles that guide the production, commodification, and reception of books in The Order of Books: Readers, Authors, and Libraries in Europe between the Fourteenth and Eighteenth Centuries (Stanford: Stanford University Press, 1994). 50. Joan Shelley Rubin, Songs of Ourselves: The Uses of Poetry in America (Cambridge, MA: Harvard University Press, 2007). Also see Lisa Szefel, “The Creation of an American Poetic Community, 1890–1920” (PhD diss. University of Rochester, 2004). Also see Daniel Kane, All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (Berkeley: University of California Press, 2003); Michael Davidson, The San Francisco Renaissance: Poetics and Community at Mid-Century (New York: Cambridge University Press, 1991); Steven Behrendt, British Women Poets and the Romantic Writing Community (Baltimore, MD: Johns Hopkins University Press, 2008); Michael Harrington, Poetry and the Public: The Social Form of Modern U.S. Poetics (Middleton, CT: Wesleyan University Press, 2002); and Christopher Beach, Poetic Culture: Contemporary American Poetry between Community and Institution (Evanston: Northwestern University Press, 1999). 51. See New Directions in American Reception Studies. Eds. James Machor and Philip Goldstein (New York: Oxford University Press, 2008). 52. George Sylvester Viereck, “Recent Poetry,” CO (formerly CL), July 1913, 56. 230 Notes to Pages 15–21

53. Van Wyck Brooks, The Confident Years, 1885–1915 (New York: E.P. Dutton & Co., Inc. 1952): 120–21. 54. Quoted in The Letters of Robert Frost to Louis Untermeyer. Ed. Louis Untermeyer (New York: Holt, Rinehart and Winston, 1963), 24. 55. Paul Boyer, Urban Masses and Moral Order in America, 1890–1920 (Cambridge, MA: Harvard University Press, 1992 [1978] ), 263–67. 56. Jayne Marek, Women Editing Modernism: “Little” Magazines and Literary History (Lexington: University Press of Kentucky, 1995); Ann Massa, “The Columbian Ode and Poetry,” Journal of American Studies 20 (2001) 86: 51–69 and “Form Follows Function: The Construction of Harriet Monroe,” in A Living of Words: American Women in Print Culture (1995), Ed. Susan Albertine; Robin Schulze, “Harriet Monroe’s Pioneer Modernism: Nature, National Identity; and Poetry: A Magazine of Verse,” Legacy 21.1 (2004): 50–67. See also, John Newcomb, “Poetry’s Opening Door: Harriet Monroe and American Modernism,” American Periodicals: A Journal of History, Criticism, and Bibliography 15.1 (2005), 6–22. 57. Ezra Pound to Alice Corbin Henderson, 14 October 1916, Folder 7.14, Box 7, AHUT. Letters from the Alice Corbin Henderson papers, reprinted by permission of the Harry Ransom Center, The University of Texas at Austin. Also published in The Letters of Ezra Pound to Alice Corbin Henderson. Ed. Ira Nadel (Austin: University of Texas Press, 1993), 170. 58. Ezra Pound: Selected Prose, 1909–1965. Ed. William Cookson (New York: New Directions Publishing Corporation, 1973), 8, 23–26. 59. As Eastman wrote, they regarded “books as an enemy of life’s real joy” and “rejected cultivation of the mind at the expense of the emotion.” Max Eastman, Enjoyment of Living, 33–34, 58. “Experience is all” Oppenheim wrote in Songs for the New Age (1913), 57. In this, they built on the tradition of Anglo- American Romantics who evinced the superiority of lived experi- ence over book knowledge in their poetry and correspondence. Lord Byron wrote: “The great object of life is sensation—to feel that we exist, even though in pain.” In an 1817 letter, Keats wrote: “O for a life of Sensations rather than of Thoughts.” In “The Tables Turned,” Wordsworth reflected that: “One impulse from a vernal wood/May teach you more of man,/ Of moral evil and of good,/Than all the sages can . . . Enough of Science and of Art; . . . /Come forth, and bring with you a heart/That watches and receives.” Quoted in Jerome McGann, The Poetics of Sensibility: A Revolution in Literary Style (Oxford: Clarendon Press, 1996), 43–45. 60. See Thomas Strychacz, Modernism, Mass Culture, and Professionalism (New York: Cambridge University Press, 2009).

1 Genteel Designs, Modern Renovations: Poetics and the Poetic Community from Hearth to Dynamo

1. Santayana to Thomas Munro (1928). Quoted by Arthur Danto in “Introduction” to George Santayana, The Sense of Beauty: Being the Outlines of Aesthetic Theory. Eds. William Holzberger and Herman Saatkamp (Cambridge: MIT Press, 1986 [1896]), 110. Notes to Pages 22–25 231

2. Leslie Butler, Critical Americans: Victorian Intellectuals and Transatlantic Liberal Reform (Chapel Hill: University of North Carolina Press, 2007), 128–42. 3. Matthew Arnold, Culture and Anarchy: An Essay in Political and Social Criticism (London: Smith, Elder and Co., 1869), 48–9. Also see John Henry Raleigh, Matthew Arnold and America (Berkeley: University of California Press, 1957). 4. Quoted in Hilary Fraser, Beauty and Belief: Aesthetics and Religion in Victorian Literature (New York: Cornell University Press, 1986), 112–3. 5. As Ruskin wrote, “Those who have keenest sympathy are those who look closest and pierce deepest, and hold surest; and on the other, those who have so pierced and seen the melancholy deeps of things are filled with the most intense passion and gentleness of sympathy.” Individuals won this insight through imagination, not intellect. Ruskin himself main- tained two diaries: one for “intellect” and the other for “feeling.” Quoted in Fraser, Beauty and Belief, 117, 132. 6. Quoted in Fraser, Beauty and Belief, 118. 7. See, for example, Jose Harris, “Ruskin and Social Reform,” in Ruskin and the Dawn of the Modern. Ed. Dinah Birch (New York: Oxford University Press, 1999), and John Batchelor, John Ruskin: No Wealth But Life (London: Chatto & Windus, 2000). 8. Pater quoted in Fraser, Beauty and Belief, 199. 9. Quoted in Linda Dowling, The Vulgarization of Art: The Victorians and Aesthetic Democracy (Charlottesville: University of Virginia Press, 1996), x–xi. 10. Arthur John, The Best Years of the Century: Richard Watson Gilder, Scribner’s Monthly, and the Century Magazine, 1870–1909 (Chicago: University of Illinois Press, 1981), 174. 11. Ellery Sedgwick, The Atlantic Monthly, 1857–1909: Yankee Humanism at High Tide and Ebb (Amherst: University of Massachusetts Press, 1994), 7. 12. Sedgwick, Atlantic Monthly, 16. 13. John, Best Years, 257. 14. Historian Arthur John characterized Gilder’s convictions in Best Years, 174. 15. John, Best Years, 147. 16. John, Best Years, 174. 17. Later Years of the Saturday Club. Ed. M. A. DeWolfe Howe (Boston: Houghton Mifflin, 1927), 236. 18. Susan Coultrap- McQuin, Doing Literary Business: American Women Writers in the Nineteenth Century (Chapel Hill: University of North Carolina Press, 1990), 28–45. 19. Richard Watson Gilder, Grover Cleveland: A Record of Friendship (New York: The Century Co., 1910), 16–7; John Tomsich, A Genteel Endeavor: American Culture and Politics in the Gilded Age (Stanford: Stanford University Press, 1971), 17–8. 20. The book originated as a series of lectures about poetry at Johns Hopkins University sponsored by Lawrence and Francese Turnball. The first endowed lectureship of poetry in the United States, it was originally 232 Notes to Pages 25–31

given to James Russell Lowell, but he died shortly after receiving the honor. 21. Edmund Clarence Stedman, The Nature and Elements of Poetry (New York: Houghton Mifflin,1920 [1892]), viii 22. Stedman, Nature, 72. 23. Rufus Griswold, The Female Poet of America (Philadelphia: Carey & Hart, 1847). Griswold’s Poets and Poetry of America (Philadelphia: Carey & Hart, 1845) was published until the end of the century. 24. Stedman, Nature, 127, 128, 131. 25. See, for example, Lionel Stevenson, Darwin Among the Poets (New York: Russell & Russell, 1963) and Bernard Lightman, Victorian Science in Context (Chicago: University of Chicago Press, 1997). 26. William Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads and Related Writings. Ed. Richey and Robinson (New York: Houghton Mifflin, 2002), 401. 27. John Keats, Lamia (Philadelphia: J. B. Lippincott Company, 1885 [1819]), 60. 28. Matthew Arnold, “The Study of Poetry,” in Poetry and Criticism of Matthew Arnold, 306. 29. Stedman, Poets, xii. 30. Stedman, Nature, viii, xiii, xiv, 4–28, 297. 31. John, Best Years, 198–202. 32. John, Best Years, 199–201. 33. Tomsich, Genteel Endeavor, 74. 34. Stedman, Nature, 47. 35. Tomsich, Genteel Endeavor, 101–4. 36. John, Best Years, 214–5. William Dean Howells incurred the community’s disfavor when he advocated commuting the sentences for the Haymarket rioters. 37. Tomsich, Genteel Endeavor, 140. 38. Stedman, Nature, 127. 39. See Gail Bederman, Manliness and Civilization: A Cultural History of Gender and Race in the United States, 1880–1917 (Chicago: University of Chicago Press, 1995); Mary Blanchard, Oscar Wilde’s America: Counterculture in the Gilded Age (New Haven: Yale University Press, 1998); and Kevin Murphy, Political Manhood: Red Bloods, Mollycoddles, and the Politics of Progressive Era Reform (New York: Columbia University Press, 2008). 40. John, Best Years, 173. 41. Sedgwick, Atlantic, 293. 42. Sedgwick, Atlantic, 294. 43. John, Best Years, 256. 44. John, Best Years, 173. 45. See Ann Douglas, The Feminization of Culture in the Nineteenth Century (New York: Farrar, Straus & Giroux, 1977). 46. The link made by male modernists between sentimentality and medioc- rity proved so durable that it was not until the 1980s that that scholars begun to recuperate the contributions made by this genre. Sensational Notes to Pages 32–36 233

Designs by Jane Tompkins went a long way toward reestablishing the importance of sentimentalism in American cultural and literary his- tory. Also see Karen Kilcup, Robert Frost and Feminine Literary Tradition (Ann Arbor: University of Michigan Press, 1998), and Clark, Sentimental Modernism. 47. Bederman, Manliness and Civilization. 48. Lawrence Oliver, “Theodore Roosevelt, Brander Matthews, and the Campaign for Literary Americanism,” American Quarterly [93–111], 94. 49. Lawrence Oliver, Brander Matthews, Theodore Roosevelt, and the Politics of American Literature, 1880–1920 (Nashville: University of Tennessee Press, 1992), xi–xiv. In this monograph, Oliver examines the compli- cated relationship among progressive ideology, cultural hegemony, imperialism, racial denigration, and Roosevelt’s brand of literary Americanism. 50. Oliver, Brander Matthews, 5, 16, 136. 51. Carlin Kindilien, American Poetry (Providence: Brown University Press, 1956), 26. In 1909 Gilder did publish “In Union Square” about an anar- chist killed by a bomb meant for the police. 52. John, Best Years, 114, 174. 53. John, Best Years, 141. 54. John, Best Years, 233–35. 55. John, Best Years, 236. 56. Jessie B. Rittenhouse, My House of Life: An Autobiography (New York: Houghton Mifflin, 1934), 123. 57. Van Wyck Brooks, America’s Coming of Age: Three Essays on America (New York: E.P. Dutton, 1934). 58. American Academy of Arts and Letters Handbook of Information, No. 62 (New York, 1927), 6N8. For a complete history of the Institute see A Century of Arts and Letters. Ed. John Updike (New York: Columbia University Press, 1998). When elected to the Academy in 1905, William James chose not only to decline but to resign from the Institute as well. He wrote to the nominating committee: “I am not informed that this Academy has any definite work cut out for it of the sort in which I could play a useful part; and it suggests tant soit peu the notion of an organiza- tion for the mere purpose of distinguishing certain individuals (with their own contrivance) and enabling to say to the world at large ‘we are in and you are out.’ ” Quoted in Thomas Bender, New York Intellect: A History of Intellectual Life in New York City (New York: Knopf, 1987), 220. 59. Oliver, Brander Matthews, xi. 60. John, Best Years, 262. In the first nineteen years of its existence, despite pressure from women and blacks, the Institute included only one woman: Julia Ward Howe, author of “The Battle Hymn of the Republic,” was elected at the age of ninety-one, two years before her death. No African American became a member until the election of W. E. B. Du Bois in 1944. Oliver, Brander Matthews, 80–1. 61. Masters to Monroe, 2 September 1924, quoted in Williams, Monroe, 9. 234 Notes to Pages 37–42

62. Sedgwick, Atlantic, 294. 63. Sedgwick, Atlantic, 295. 64. William Vaughn Moody to Robert Underwood Johnson, 25 October 1904, William Vaughn Moody Papers, UVA. 65. Thompson, Frost, 524. 66. “Ezra Pound Speaking”: Radio Speeches of World War II. Ed. Leonard Doobs (Westport, CT: Greenwood Press, 1978), 91. 67. Pound to Monroe, Spring 1915. Quoted in Williams, Monroe, 7. 68. Pound to Monroe, 11 October 1912 and September/October 1912, HMUC. Letters from the Harriet Monroe Personal Papers reprinted by permis- sion of the Special Collections Research Center, University of Chicago Library. 69. See Max Putzel, The Man in the Mirror: William Marion Reedy and His Magazine (Columbia: University of Missouri Press, 1998). 70. Dudley F. Sicher to Untermeyer, 27 August 1903, Box 8, LUUD. Letters from the MSS 111 Louis Untermeyer Papers, Special Collections, University of Delaware Library reproduced by arrangement with the estate of Louis Untermeyer. 71. Johnson to Louis Untermeyer, 18 November 1912, Box 5, LUUD. 72. Harriet Monroe, A Poet’s Life: Seventy Years in a Changing World (New York: Macmillan Co., 1938), 15–26. 73. Monroe, Poet’s Life, 78–82. 74. Monroe, Poet’s Life, 82; Ethel Kelley (Hampton’s editor) to Harriet Monroe, 24 April 1911, HMPP. 75. Monroe, Poet’s Life, 121. 76. “Suggestions in Reference to Miss Monroe’s ‘Columbian Ode,’ ” Box 15, Folder 1, HMUC. 77. Monroe, Poet’s Life, 117–142, 147. 78. Perry to Monroe, 13 November 1905, HMUC. 79. Tarbell to Monroe, 18 November 1908, quoted in Williams, Monroe, 5. 80. Ethel Kelley to Monroe, 24 April 1911, Folder 8, Box 3, HMUC. 81. Carrie Noland investigates the response of French modernist poets to capitalism and technology in Poetry at Stake: Lyric Aesthetics and the Challenge of Technology (New York: Princeton University Press, 1999). 82. Monroe, Poet’s Life, 34, 146, 193–4. 83. Monroe, Poet’s Life, 180. 84. Monroe, Poet’s Life, 180–1. 85. Sedgwick to Lowell, 11 May 1910, 23 September 1913, 8 February 1911, ALHH. Letters from the Amy Lowell Papers, bMS Lowell 19.1 are reprinted by permission of the Trustees of the Amy Lowell Estate and by Houghton Library, Harvard University. 86. Sedgwick to Lowell, 11 May 1910, 17 May 1910, 8 February 1911, 17 May 1912, 23 September 1913, Box 20, ALHH. “Atlantic” was the first of four sonnets accepted by the Atlantic Monthly in 1910. 87. Braithwaite to Stedman, 2 February 1900, Braithwaite to Howells, 7 October 1899, Braithwaite to L. C. Page & Co., 3 April 1899 in The William S. Braithwaite Reader. Ed. Philip Butcher (Ann Arbor: University of Michigan Press, 1972), 237–9. Notes to Pages 42–45 235

88. Burton to Braithwaite, 5 December 1903. Box 3, WBHH. Letters from the William Braithwaite Papers, are reprinted by permission of the Houghton Library, Harvard University. 89. Braithwaite, “Arcturus,” Phylon, 2 (1942), 2: 189. Perhaps Braithwaite heeded the advice of his friend, Boston poet, anthologist of humor- ous verse and American songs, Frederick Knowles (1869–1905), whose article “Some Practical Hints for Amateur Verse-Writers” can be found in Braithwaite’s papers. Knowles suggested poets avoid foreign words because it “shows bad taste.” He argued that newspapers wanted short poems on cheerful themes and “If it tells a story, its chance of accep- tance is greater than if it is purely subjective.” Box 11, WBHH. 90. “The Reminiscences of William Stanley Braithwaite,” OHCU. 91. Burton Kline, “William S. Braithwaite,” BET, 30 November 1915. 92. The review, “The Magazines and the Poets: A Critical Examination of Periodical Files for 1905,” appeared in the 14 February 1906 issue of the Transcript. 93. Braithwaite, “The Magazines and the Poets,” 1905 typed manuscript, WBVA. 94. OHCU, 15. 95. Rittenhouse, My House, 3–15, 35, 51, 63, 75–6, 84–93. 96. Rittenhouse, My House , 116. 97. Robert Crunden provides a sketch of Progressive reformers in the realms of music, social science, academia, and the arts in Ministers of Reform: The Progressives’ Achievement in American Civilization, 1889–1920 (New York: Basic Books, 1982). 98. Quoted in Van Wyck Brooks, The Confident Years, 1885–1915 (New York: E. P. Dutton, 1952), 73. 99. See Roger Stein, John Ruskin and Aesthetic Thought in America, 1840–1900 (Cambridge, MA: Harvard University Press, 1968). 100. Crunden, Ministers, 91–6. 101. “On Poetic Diction,” Harper’s Weekly, 5 (1909), 6. Similar challenges had been laid decades before in French symbolist poetry, beginning with Baudelaire, and took on greater heft throughout the transatlantic world in the fields of art, architecture, philosophy, psychology, and intellectual life more generally. For investigations of the links among various artis- tic endeavors, see Daniel Albright, Untwisting the Serpeant: Modernism in Music, Literature and the Other Arts (Chicago: University of Chicago Press, 2000); Charles Altieri, Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modern Poetry (New York: Cambridge University Press, 2009); The Cambridge Companion to Modernism. Ed. Michael Levenson (New York: Cambridge University Press, 1999). 102. Williams, Monroe, 11. 103. Warren Susman, Culture as History: The Transformation of American Society in the Twentieth Century (New York: Pantheon Books, 1984); Jackson Lears, No Place of Grace: Antimodernism and the Transformation of American Culture, 1880–1920 (Chicago: University of Chicago Press, 1981). 104. The term “epistemological toilette” is from Jeffrey Nunokawa, “Speechless in Austen,” Humanities Center at Harvard, February 2005. Quoted by permission of the author. 236 Notes to Pages 46–53

105. Upton Sinclair, The Autobiography of Upton Sinclair (New York: Harcourt, Brace & World, Inc., 1962), 45. 106. Orrick Johns, Time of Our Lives: The Story of My Father and Myself (New York: Octagon Books, 1973 [1937]), 178. 107. “On Poetic Diction,” Harper’s Weekly (29 May 1909). 108. David Hall, Worlds of Wonder, Days of Judgment: Popular Religious Belief in Early New England (New York: Knopf, 1989). 109. Paul Carter, The Spiritual Crisis of the Gilded Age (Dekalb: Northern Illinois University Press, 1971); Edward Blum, Reforging the White Republic: Race, Religion, and American Nationalism, 1865–1898 (Baton Rouge: Louisiana State University Press, 2005). 110. Santayana, Sense of Beauty, 138. 111. Santayana, The Interpretations of Poetry and Religion (New York: Charles Scribner’s Sons, 1927 [1900]), v, 10, 256, 270, 289;Santayana, Sense of Beauty, 138. 112. Johns, Times of Our Lives, 129 113. Johns, Times of Our Lives, 199. Contemporary ideas about pragmatism, psychology, epistemology, and aesthetics even influenced Thorstein Veblen’s beliefs about the role of beauty in creating a more egalitar- ian society. See Trygve Throntveit, “The Will To Behold: Thorstein Veblen’s Pragmatic Aesthetics,” Modern Intellectual History, 5 (2008) 3: 519–46. 114. Walt Whitman, Leaves of Grass. 1855 First Edition Text (Virginia: Wilder Publications, 2008), 8–10. 115. Whitman, Leaves, 8–10, 13–4, 16 20, 79. 116. Stedman, Poets, 351–94. 117. Kenneth Price, Walt Whitman: The Contemporary Reviews (New York: Cambridge University Press, 2009), xi–xviii. 118. Barbara Hochman, Getting At The Author: Reimagining Books and Reading in the Age of American Realism (Amherst: University of Massachusetts Press, 2001), 12. 119. George B. Hutchinson, “Whitman and the Black Poet: Kelly Miller’s Speech to the Walt Whitman Fellowship,” American Literature, 61 (March 1989): 1, 53 [46–58]. 120. Clarence Brown, “Walt Whitman and the ‘New Poetry,’ ” American Literature, 33 (March 1961) 37, 34 [33–45]. 121. Alice Henderson, “Editorial Comment: A Perfect Return,” Poetry, 1 (December 1912) 3, 88–90. 122. Harriet Monroe, “Walt Whitman,” Poetry, 14 (May 1919) 2: 89–.94 123. Brown, “Walt Whitman,” 37–8. 124. The vanity publisher, Richard Badger, contacted Robinson and reis- sued the book with sixteen new poems as The Children of the Night. An admirer of Robinson’s, Willie Butler, footed the expense. Hagedorn, Robinson, 106, 112. 125. Robinson, Children of the Night (Boston: Richard Badger, 1897), 85, 63, 91. 126. Robinson, Children, 63. Robinson did have some success finding an out- let for his work. Lippincott’s purchased a sonnet on Poe but failed to publish it for twelve years, while The Critic published two others but Notes to Pages 54–63 237

offered no payment, and the Boston Transcript printed “The Children of the Night”; Hagedorn, Robinson, 98, 105. 127. Quoted in Chard Powers Smith, Where the Light Falls: A Portrait of Edwin Arlington Robinson (New York: Macmillan Co., 1965), 291. 128. Hagedorn, Robinson, 110–2. 129. Viereck, “Youthful Diary,” EGLC. 130. Benét to Untermeyer, 2 December 1913, Box 2, LUUD. I would like to acknowledge John Gibbs for the phrase “willful non- perception.” 131. Benét to Untermeyer, 29 June 1914, Box 2, LUUD. 132. Sedgwick, The Atlantic Monthly, 237. 133. Diary and Letters of Josephine Preston Peabody. Ed. Christina Hopkinson Baker (New York: Houghton Mifflin, 1925), 109, 130–1. 134. Peabody to Mary Mason, 11 February 1901, Peabody, 146. 135. G.B. Shaw, Man and Superman (New York: Brentano’s, 1922), 62. 136. Quoted in the introduction that Corinne Roosevelt Robinson to Roosevelt As The Poets Saw Him: Tributes from the Singers of America and England to Theodore Roosevelt. Ed. Charles Hanson Towne (New York: Charles Scribner’s Sons, 1932), xviii. 137. Hagedorn, Robinson, 212.

2 Reforming Verse, Uplifting Society: The Labor Theory of Poetic Value

1. Jessie B. Rittenhouse, “A Year’s Harvest in American Poetry,” NYT Book Review, 28 November 1915, 462. 2. The biographical information on Markham’s early years comes from Louis Filler, The Unknown Edwin Markham: His Mystery and Its Significance (Yellow Springs, Ohio: Antioch Press, 1966). 3. Markham quoted in Filler, Markham, 13. 4. Filler, Markham, 35. 5. Filler, Markham, 59. 6. Filler, Markham, 59. 7. Filler, Markham, 63, 65, 75. 8. Filler, Markham, 99. 9. Filler, Markham, 79. 10. Filler, Markham, 79–81, 83, 61. 11. For more information, see Clark D. Halker, For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865–1895 (Chicago: University of Illinois Press, 1991). 12. For more on the genre of dead- pet poetry in Greek epigrams and Victorian verse, see G. Herrlinger, Totenklage um Tiere in der antiken Dichtung, cited in Vertis in usum, Eds. John Miller, et al. (Munich: K.G. Sauer Verlag GmbH, 2002), 191, and Ingrid H. Tague, “Dead Pets: Satire and Sentiment in British Elegies and Epitaphs for Animals,” Eighteenth- Century Studies, 41 (Spring 2008) 3, 289–306. 13. Kindilien, American Poetry, 10, 12–19. 14. Kindilien, American Poetry, 56. 238 Notes to Pages 63–71

15. Kindilien, American Poetry, 57. 16. Quoted in James D. Hart, The Popular Book: A History of America’s Literary Taste (New York: Oxford University Press, 1950), 128. 17. Over 4,000 copies of the book sold before publication in November of 1855. After five months, over 30,000 copies had sold. Hart, Popular Book, 129–30. 18. Elizabeth Van Allen, James Whitcomb Riley: A Life (Bloomington: Indiana University Press, 1999), 10, 12. 19. Quoted in Benediktsson, George Sterling, 63. 20. Riley earned more money than Longfellow, the first American to make his living from poetry, who received $2,000 annually even before the publication of “The Song of Hiawatha.” Van Allen, Riley, 183 and Hart, Popular Book, 127. The only other poet who made comparable money was Kansas poet Walt Mason who received fifteen dollars per poem, except when he sold them in “car- load lots.” He told an interviewer in 1914 that people want “poetry easy to read, poetry with a jingle in it, poetry that treats of the things and conditions they are familiar with, and they want their poetry clean and wholesome . . . the fact that they want it shows that their hearts and heads are all right.” “A Kansas Poet’s Income,” The Literary Digest 48 (14 February 1914), 339–43. 21. Van Allen, Riley, 9, 193, 229. 22. Van Allen, Riley, 5. 23. Van Allen, Riley, 1–2, 6. 24. Filler, Markham, 45. 25. Filler, Markham, 61. 26. Markham denounced the lecture in his notebook. Filler, Markham, 82, 88. 27. The line became the motto for Markham’s bookplates. The poem was pub- lished in War Poems 1898 Compiled by the California Club (San Francisco, 1898). Quoted in Filler, Markham, 96. 28. “The Author of ‘The Man with the Hoe’ Gives an Exposition of His Poem,” The NewYork Times, 3 February 1900. 29. Markham, Man with the Hoe and Other Poems (New York: Doubleday & McClure Company, 1899), 15–18. 30. See Robert Walker, The Poet and the Gilded Age: Social Themes in Late- Nineteenth Century Verse (Philadelphia: University of Pennsylvania Press, 1963). 31. Bailey Millard, History of the San Francisco Bay Region (New York: American Historical Society, Inc., 1924): 447–58, Elizabeth Bergmann Loizeau, “Ekphrasis and Textual Consciousness,” Word & Image Vol. 15, No. 1 (January—March 1999), 76. 32. Frank Norris, The Octopus: A Story of California (New York: Doubleday, Page & Company, 1901) 316–17, 372, 376–77. 33. Norris, The Octopus, 394. 34. Mark Sullivan, Our Times: America at the Birth of the Twentieth Century (New York: Scribners, 1996 [1936]), 179–80. 35. Arthur Davison Ficke, “The Present State of Poetry,” North American Review (1911) 194, 438 [429–41]. Notes to Pages 71–80 239

36. Filler, Markham, 102. 37. Debs to Markham, 18 July 1899, EMWC. 38. Florence Hamilton, “ ‘The Man with the Hoe’: The Poem, The Poet and The Problem: The Intellectual Biography of Edwin Markham,” unfin- ished, unpublished biography, 187, Box 10, FHLC. 39. Torrence to Markham, [n.d.], Folder T (I), EMWC. 40. James to Markham, 17 March 1899, Folder J, EMWC. 41. “Review #10,” 21 October 1899, The New York Times. 42. Filler, Markham, 104–5. 43. Quoted by Florence Hamilton, “The Poet and the Problem,” 181. 44. “Hamilton Mabie on Edwin Markham,” 16 November 1901, The New York Times Saturday Review. Filler, Markham, 105. 45. Benediktsson, Sterling, 65–67. 46. Cary Nelson analyzes Markham’s concerns about organized labor in Revolutionary Memory: Recovering the Poetry of the American Left (New York: Routledge, 2001), 16–21. 47. Markham to Mr. Knight, 1 April 1899, Folder 1882–1905, EMWC. 48. Sullivan, Our Times, 180–81. 49. “Mr. Markham, The Author of ‘The Man with the Hoe’ Gives an Exposition of His Poem,” The New York Times, 3 February 1900, BR10. 50. Quoted in “People Met in Hotel Lobbies,” 12 April 1905, The New York Times. 51. Filler, Markham, 101. 52. Jones also used Millet’s picture and a quote from “The Man with the Hoe” on his official stationery. Filler, Markham, 123. 53. Hamilton, “The Poet and the Problem,” 188. 54. Hamilton, “The Poet and the Problem,” 189. Bailey Millard indicated that Cheney received $750, while Markham received only twenty- five dollars for his poem. Millard, San Francisco, 456. 55. “ ‘The Man with the Hoe’ Competition,” Public Opinion, 8 February 1900, 183–84. 56. See, for example, Howard Pyle’s censures against Markham’s “Pessimism.” 10 November 1900, The New York Times. 57. “Markham’s Pessemism,” 8 December 1900, BR29. 58. E. B. Patterson of Brooklyn, New York, quoted in “Markham’s Pessimism.” 59. Quoted in “Markham’s Pessimism.” 60. Rev. Alexander Fitzgerald quoted in “Markham’s Pessimism.” 61. John Talman, “Tardy Appreciation of Markham,” 29 December 1900, The New York Times Saturday Review, BR16. 62. Hamilton, Box 10, 4, FHLC. 63. The undated essay can be found in Box 10, Folder 2, FHLC. 64. Markham, Notes, 29, 33, 37, 44. The pamphlet, published by Doubleday & McClure Company, retailed for fifty cents, half the price of The Man with the Hoe and Other Poems. 65. C. H. Garrett, “Edwin Markham, Cowboy and Poet,” The Era Magazine (1903), Vol. 11, 181–83. 66. Col. Richard Hinton, “An Author Not at Home,” The New York Times, 12 August 1899, BRA 529–30. 240 Notes to Pages 81–84

67. William Wallace Whitelock, “Edwin Markham: How He Wrote His Famous Poem,” 7 September 1901, The New York Times, BR12. 68. Joaquin Miller, “Edwin Markham—His Life and His Verse,” 18 November 1899, The New York Times. 69. Loren Glass examines the connections among modernism, mass culture, masculinity, and celebrity in Authors, Inc.: Literary Celebrity in the Modern United States, 1880–1980 (New York: New York University Press, 2004). See also Aaron Jaffe, Modernism and the Culture of Celebrity (New York: Cambridge University Press, 2005) and David Blake, Walt Whitman and the Culture of American Celebrity (New Haven, Ct: Yale University Press, 2006). 70. Markham received two-hundred dollars per speech, with McClure’s receiving a fifty- dollar commission. Filler, Markham, 112. 71. Markham to Miss Watson, 2 September 1903, EMWC. 72. Markham to Eugenie Kellogg- Churchill, 22 June 1904, Markham to Mrs. Townsend Allen, 7 September 1903, Markham to Julia Small, 20 November 1904, Markham to Mr. Southworth, 10 September 1903, EMWC. 73. Markham to Marcus Kennery, 8 May 1901, EMWC. 74. Markham to Mr. James, 3 September 1903, Markham to Mr. Beers, 7 September 1903, EMWC. 75. Edwin Markham, “Literature Remade,” The New York Times, 12 December 1909, SMA2. 76. Edwin Markham, The Younger Choir (New York: Moods Publishing Co., 1910), 9–11. The first edition run of five hundred copies included reprints of poems that had previously appeared in such publications as Moods, The Forum, Atlantic Monthly, Century, Independent, Smart Set, The Saturday Evening Post, North American Review, The New York Times, The New York Sun. 77. Markham, Younger Choir, 10–11. 78. Markham, Younger Choir, 12. 79. Edwin Markham, “On Our Younger Writers’ Eroticism, Paganism and Nietzsche,” The New York Times Book Review, 13 October 1912, 578. The volume received favorable notices. In a review of the book, Richard Le Gallienne deemed America “par excellence, the commercial country” and commended The Younger Choir for checking this commercialism by fur- nishing “the dream- force” that is “forever mysteriously making and re- making the visible world—a visible world not all granite and iron, but also violet and daffodil and face of woman and song of bird.” Richard Le Gallienne, “The Younger Choir,” The Forum 43 (June 1910), 652 [651–60]. 80. Filler, Markham, 158. 81. Margaret Widdemer, A Tree With A Bird In It: A Symposium of Contemporary American Poets On Being Shown A Pear- Tree On Which Sat A Grackle (New York: Harcourt, Brace &Co., 1922), 4. 82. The Hearst International Library published the book in 1914. Filler, Markham, 127, 138, 155. 83. Filler, Markham 133. Notes to Pages 86–95 241

3 Curating a Community, Engineering a Renaissance: A New Infrastructure for the “New Beauty”

1. Mabel Dodge Luhan, Intimate Memories: The Autobiography of Mabel Dodge Luhan (Albuquerque: University of New Mexico Press, 1999), 102, 112. Also quoted in Ross Wetzsteon, Republic of Dreams: Greenwich Village, the American Bohemia, 1910–1960 (New York: Simon and Schuster, 2002), 16. 2. As a young man, William had an affair with the Berlin actress Edwine Viereck. Louis von Prillwitz, son of Prince August of Prussia, assumed legal paternity. George Sylvester Viereck, My Flesh and Blood: A Lyric Autobiography with Indiscreet Annotations (New York: H. Liveright, 1931), 3, 236–38; Otis Norman, “Viereck, Hohenzollern?” New York Times Saturday Review of Books, 29 June 1907, 413. Birth records indicate that Prince George of Prussia and Baron Franz von Schick, the Imperial Austrian General of Cavalry, served as godfathers. 3. Viereck, “Youthful Diary,” EGLC. 4. Huneker to Viereck, 13 November 1905, EGLC. 5. Huneker to Viereck, 1 December 1905, EGLC. 6. Elmer Gertz, Odyssey of a Barbarian: The Biography of George Sylvester Viereck (Buffalo, NY: Prometheus Books, 1978), 40. 7. Ralph Melnick, The Life and Work of Ludwig Lewisohn, Vol. 1 (Detroit: Wayne State University Press, 1998), 94–104. 8. Viereck, Ninevah and Other Poems (New York: Moffat, Yard & Co., 1912 [1907]), xiv– xv. 9. Viereck, Ninevah, xvi. 10. Gilder to Viereck, 24 June 1907, EGLC. 11. “Viereck Writes to Gilder,” The New York Times Book Review, 19 August 1907, 488. 12. Untermeyer, “The Haunted House,” The New York Times, 13 July 1907. 13. “Topics of The Week,” The New York Times Book Review, 29 June 1907, 416. 14. Bradley, “Prolonging Strains of A Dying Song,” The New York Times Book Review, 22 June 1907, 407. 15. Barker to Gertz, 24 May 1936, EGLC. 16. Gertz, Odyssey, 112. 17. “Believes He Is A Genius,” Saturday Evening Post, 31 August 1907. 18. Gertz, Odyssey, 99. 19. Viereck also ingratiated himself with the Rough Rider’s sister, Corinne, who had sent copies of her poems for criticism. While other poets dis- missed her as a wealthy dilettante, Viereck crafted diplomatic letters praising her work as “inspired.” He gladly accepted luncheon invitations to discuss her literary development. See, for example, Viereck to Corinne Roosevelt, 8 March 1913, GVHH. 20. Neil M. Johnson, George Sylvester Viereck: German- American Propagandist (Urbana: University of Illinois Press, 1972), 17. 21. In a letter to his parents, who had returned to Berlin in 1912, Viereck relayed the success of his “Million Dollar Luncheon” at which Roosevelt 242 Notes to Pages 95–99

addressed an audience of literati and businessmen. Within a year the magazine became subsumed under the International, a “liberal magazine of literature, politics, philosophy, and the drama.” The International had been founded by Columbia undergraduates associated with the Socialist League for Industrial Democracy. Unlike CL, International printed orig- inal articles. The editors received non- fiction essays from the likes of Charles W. Eliot, John Dewey, and George Cronyn. Walter Lippmann prepared the political notes; Floyd Dell contributed fiction; Sara Teasdale, Louis Untermeyer and many others submitted their verse. B. Russell Herts, Richard le Gallienne, and Blanche Shoemaker Wagstaff served as contributing editors. Salon host Mabel Dodge refused Viereck’s solicita- tion to support the magazine financially, but she contributed articles, and believed that it “had a really emancipating influence on young writ- ers who heretofore had no vehicle for their work.” Mabel Dodge Luhan, Movers and Shakers (Albuquerque: University of New Mexico Press, 1985), 160. 22. “The Confessions of a Barbarian,” The New York Times Book Review, 21 May 1910, 5. 23. Quoted in Phyllis Keller, States of Belonging: German-American Intellectuals and the First World War (Cambridge, MA: Harvard University Press, 1979), 126. 24. Hapgood, Review of G. S. Viereck, Confessions of a Barbarian, The Bookman (1910), 505. 25. Quoted in Gertz, Odyssey, 102. 26. Floyd Dell, Homecoming: An Autobiography (New York: Farrar and Rinehart, Inc., 1933), 287. 27. Steven Watson, Strange Bedfellows: The First American Avant- Garde (New York: Abbeville Press, 1991), 29. 28. John Reed, “A Gilbertian Ode,” The Day in Bohemia; or Life Among the Artists reprinted in Alex Baskin’s John Reed: The Early Years in Greenwich Village (New York: Archives of Social History, 1990), 70. 29. Dell, Homecoming, 279–89. 30. Such behavior contradicted Dell’s earlier statement that the Village “wanted its most serious beliefs mocked at; it enjoyed laughing at its own convictions.” Dell, Homecoming, 261. 31. Dell, Homecoming, 280. 32. Quoted in Florence Hamilton, “The Poet and the Problem,” 221. 33. Harvey to Gertz, 4 September 1935, EGLC. In the same letter, Harvey attributed the rancor Viereck sometimes engendered to his advanced thinking: “He spoke of sex with a poetical license which in Anglo- Saxon circles was not understood then. Time was to vindicate him. Psycho- analysis had not yet been popularized.” 34. Gertz, Odyssey, 59. 35. Gertz, Odyssey, 59. 36. “Recent Poetry,” October 1913, 271. 37. “Recent Poetry,” September 1910, 334. 38. “Recent Poetry,” CO, August 1910, 221. 39. “Recent Poetry,” April 1916, 282. Notes to Pages 99–106 243

40. Review of Rhymes To Be Trades for Bread, August 1913, 128 41. Review of Viereck, The Candle and The Flame, August 1912, 231. 42. “Voices of the Living Poets,” CO, February 1915, 121. 43. “Recent Poetry,” June 1914, 462. 44. “Recent Poetry,” September 1911, 332. 45. “Recent Poetry,” February 1911, 217–18. 46. “Recent Poetry,” January 1911, 102. 47. “Recent Poetry,” Poetry November 1918, 329. 48. See, for example, “Recent Poetry,” August 1910, 218, September 1910, 334, and November 1910, 568. 49. “The Poets’ Circle and Syndicate Open,” The New York Times, 2 January 1911, 7. 50. ‘Poetry Is A Living Art,’ That Is Why American Poets Have Organized,” The New York Sun, 10. 51. “Recent Poetry,” CL, December 1910, 682. 52. Braithwaite, “The Feast of the Poets,” BET, 31 December 1910. 53. Quoted in “Recent Poetry,” January 1911, CL, 101–2. 54. Ibid., 102. 55. Percy MacKaye was a well-respected poet who led a movement to make poetry more democratic by trying to establish masques, poems as mini- plays, to be read before audiences as divergent as African-American high schools, advertising bureaus, and the Industrial Workers of the World. See, “Percy MacKaye Predicts Communal Theatre,” The New York Times Sunday Magazine, 14 May 1916, 13. 56. “First Aid To Poets,” Washington Post, 3 January 1911, 6. 57. Members of the Authors’ Club, formed in 1882, appointed Matthew Arnold the first honorary member. 58. Monroe, Poet’s Life, 84–85. 59. Eunice Tietjens, The World at My Shoulder (New York: The Macmillan Co., 1938), 5, 35. 60. See PSA to Teasdale, 23 December 1910, STVA. 61. “ ‘Poetry Is A Living Art,’ ”10. 62. “Boom in Poetry May Make ‘Best Seller’ Fiction A Back Number,” The New York Times, 22 June 1913, SM6. 63. Initially, the Pulitzer committee refused to create the category for poetry. The Society administered the prize in conjunction with Columbia University until the Pulitzer committee changed its convictions about the value of honoring poetry, and assumed control of the award three years later. In her memoirs, Jessie Rittenhouse took credit for this, while in the PSA’s official history, Gustav Davidson claimed that Edward J. Wheeler secured the funds. In Fealty to Apollo. Ed. Gustav Davidson (New York: Fine Editions Press, 1950), 19. Records of the Pulitzer Prize do not provide clarification. 64. “Boom in Poetry,” 6. 65. “Poets in Session in Untermeyer Home,” The New York Times, 10 May 1914, 10, “Poets Woo Spring on Greystone Lawn,” The New York Times, 26 May 1915, 9. 66. Rittenhouse, My House of Life, 227–30. 244 Notes to Pages 107–111

67. Viereck stepped down as Secretary after professing that he lacked “the Secretarial mind.” He had no desire to continue in the unpaid position, preferring to use energy pursuing more lucrative endeavors that still allowed sufficient time to write poetry. Rittenhouse herself struggled with the paltry remuneration and her lack of literary productivity dur- ing her years as Secretary. 68. Margaret Widdemer in Jessie Rittenhouse, 21. 69. Rittenhouse recalled that “when the so- called New Movement in poetry was just beginning and was still somewhat baffling to the lay mind,” she gave lectures to small audiences of local book clubs as well as at places such as the American Library Associations’s annual convention with over 2,000 librarians. She was also asked to give a series of lectures to members of the Board of Education in New York City. Rittenhouse, My House, 275–76. 70. Rittenhouse, My House, 279–80. When Rittenhouse moved to Florida in 1922, Catherine Markham took over duties as PSA Secretary. 71. Poets Robert Hillyer served as the first President of the college PSA, with Mark Van Doren and Grace Hazard Conkling acting as co- vice presi- dents. In Rittenhouse, My House, 240. 72. See PSA Notes, 29 December 1911, STVA. 73. Widdemer, Friends, 113. 74. Reedy to Teasdale, 21 June 1915, STVA. 75. William H. Pritchard, Frost: A Literary Life Reconsidered (Amherst: University of Massachusetts Press, 1993), 117. Pritchard notes that Frost originally directed this remark at Carl Sandburg, a poet with whom he was often compared. Of a visit by Sandburg to the University of Michigan in 1922, Frost satirized the pose of lusty manhood: “He was possibly [three] hours in town and he spent one of those washing his white hair and toughening his expression for public performance.” 76. Lowell to Rittenhouse, 3 December 1915, Box 17, ALHH. 77. Rittenhouse, My House of Life, 256–58. 78. Widdemer, Friends, 113. 79. “Recent Poetry,” CO, April 1915, 273. 80. Wheeler to Lowell, 1 December 1915, ALHH. 81. CO, June 1916, 433. 82. In Amy Lowell: A Chronicle with Extracts from Her Correspondence (New York: Houghton Mifflin, 1935), Samuel Damon dated this speech as January 25, 1916, but her correspondence in Houghton Library has congratulatory letters dated 1917. 83. Damon, Amy Lowell, 36. 84. Viereck to Lowell, 3 February 1917, ALHH. Reprinted with the permis- sion of copyright owner Stephanie A. Viereck Gibbs Kamath. 85. Lowell to Viereck, 9 February 1917, GVHH. 86. Rittenhouse, My House of Life, 293–308. 87. In Fealty to Apollo. Ed. Gustav Davidson (New York: Fine Editions Press, Publishers, 1950), 21, 23. 88. Monroe, Poet’s Life, 242. 89. Greenslet to Monroe, 8 March 1910, Folder 8, Box 3, HMUC. Notes to Pages 111–117 245

90. Kennerley to Monroe, 18 October 1911, Folder 11, Box 1, HMUC. 91. Monroe, “The Bigness of the World,” Atlantic Monthly, 108 (September 1911) 3, 372 [371–75]. 92. Monroe, “Bigness,” 373–75. “Cinderella of the Arts,” Chicago Tribune, 19 November 1911, 1. Quoted in Williams, Monroe, 247. 93. “Cinderella of the Arts,” 1. Quoted in Williams, Monroe, 247. 94. Williams, Monroe, 14–15. 95. Monroe to O’Brien, 28 August 1912, HMUC. 96. Monroe, Poet’s Life, 246–47. 97. Williams, Monroe, 20–21. Poets who received the letter included Edwin Markham, Amy Lowell (whose poem “On Carpaccio’s Picture” Monroe had noticed in the Atlantic Monthly beneath her own article, “The Bigness of the World”), E. A. Robinson, Vachel Lindsay, Floyd Dell, and British writers such as W. B. Yeats and John Masefield. 98. Williams, Monroe, 11. 99. Monroe, “The Motive of the Magazine.” Poetry (October 1912), 27–29. 100. Edith Wyatt, “On the Reading of Poetry,” Poetry, 1 (October 1912) 1, 25. 101. Monroe, review of The Vaunt of Man and Other Poems, Poetry, 2 (April 1913) 1, 26. 102. Monroe, review of The Lonely Dancer, and Other Poems, Poetry, 4 (April 1914) 1, 31. 103. Monroe, “The New Beauty,” Poetry, 2 (April 1913) 1, 22–24. 104. Carl Sandburg wrote of this slogan in “The Work of Ezra Pound,” Poetry, 7 (February 1916) 5, 251. 105. Monroe, Poet’s Life, 223. 106. Pound to Monroe, 18 August 1912. HMUC. 107. Quoted in James Longenbach, Stone Cottage (New York: Oxford University Press, 1988), 31. 108. Pound to Monroe, 18 August 1912. HMUC. 109. Pound to Monroe, 11 October 1912 and Sept/Oct 1912, HMUC; Pound to Monroe, October or November 1912, quoted in Poetry Magazine: A Gallery of Voices. An Exhibition from the Harriet Monroe Poetry Collection (Chicago: Joseph Regenstein Library, University of Chicago, 1980), 36. 110. Parisi, Dear Editor, 11, 12, 75, 77. 111. Parisi, Dear Editor, 10–22, 178. 112. Parisi, Dear Editor, 59. 113. Parisi, Dear Editor, 43–44. 114. Floyd Dell, “To A Poet,” Chicago Evening Post Literary Review (4 April 1913), quoted in Monroe, Poet’s Life, 310. 115. Sandburg at first hesitated to parse the meaning of Pound’s poetry: “As well should one reduce to chemical formula the crimson of a Kentucky redbird’s wing as dissect the inner human elements that give poetic craft.” But then he likened Pound’s creations to that of a scientist or businessman: “His way of working . . . is more conscious and deliberate, more clear-cut in purpose and design, than might be thought from first glance.” Despite this deceiving ease, Pound actually “works by rules, 246 Notes to Pages 119–123

measurements, formulae and data as strict and definite as any worker who uses exact science, and employs fractions of inches, and drills in steel by thousandths of millimeters.” Sandburg, “The Work of Ezra Pound,” 249–57. 116. Parisi, Dear Editor, 52. 117. Parisi, Dear Editor, 42. 118. Monroe, “The Open Door,” Poetry, 1 (November 1912) 2, 62, and Monroe, “Tradition,” Poetry, 2 (May 1913) 2, 67–69. 119. Monroe, Poet’s Life, 215. When Monroe initially saw the show in New York, she reacted against the lack of transparency in the paintings of Picasso, Duchamp, and Matisse. “A picture should speak for itself,” she argued. Several months of reflection and discussion helped her to appreciate the contribution made by such artists. 120. Henderson, “Art and Photography,” Poetry, 6 (April 1915)1, 99–101. 121. Tietjens, World, 24. For an analysis of Henderon’s contributions to the magazine, see Jayne Marek, Women Editing Modernism: “Little” Magazines and Literary History (Lexington: University Press of Kentucky, 1995). 122. Quoted in Lowell, Tendencies, 213. 123. Monroe shot back, charging, “What chances has The Dial ever taken? What has it ever printed but echoes?” Monroe, “The Enemies We Have Made,” Poetry, 4 (May 1914) 2, 63–64. 124. Monroe, “The Enemies We Have Made,” 63. 125. Monroe, “Review of Carl Sandburg, Chicago Poems,” Poetry, 8 (May 1916), 2, 90–93. 126. Tietjens, World, 39–40. 127. Monroe, “Incarnations,” Poetry, 2 (May 1913) 2, 104. Assistant Editor Alice Corbin Henderson seconded the endorsement of Lindsay: “He is realizing himself in relation to direct experience.” Henderson, “Too Far From Paris,” Poetry, 4 (June 1914), 3. 128. Monroe, “Poetry’s Banquet,” Poetry, 4 (April 1914) 1, 25–28. 129. Ficke, though, denounced the free verse forms that Yeats sometimes employed. In a reverse-Rousseau move, Ficke believed that the poet found freedom only in chains. See Monroe, Poet’s Life, 406. 130. Monroe, “Introduction” to Lindsay, The Congo and Other Poems (New York: The Macmillan Company, 1914), v–ix. 131. Randolph S. Bourne, “Sincerity in the Making,” The New Republic, 1 (5 December 1914), 26–27. 132. Herbert Russell, “Edgar Lee Masters,” Dictionary of Literary Biography. Vol. 54 (1), 298. 133. Corinne Roosvelt Robinson, Roosevelt, xx. 134. “Poetry is the orientation of the soul to conditions in life,” Masters con- tinued. “Like great waters it may murmur or ripple or roar.” “What Is Poetry?” Poetry (September 1915), 307. 135. Russell, “Edgar Lee Masters,” 302. 136. Monroe, “Review of Edwin Markham, The Shoes of Happiness and Other Poems Poetry (September 1915) Vol. VI, No. 6, 308–10. Notes to Pages 124–128 247

137. James Kraft, Who Is Witter Bynner? A Biography (Albuquerque: University of Mexico Press, 1995), 24. 138. Harriet Monroe, “Review of Witter Bynner The New World,” Poetry, 7 (December 1915), 3, 147–48. 139. Others, 2 (February 1916) 2, 156. 140. See Suzanne Churchill, The Little Magazine Others and the Renovation of Modern American Poetry (Burlington, VT: Ashgate Publishing, 2006). 141. Monroe to Williams, 3 March 1913, Parisi, Dear Editor, 113. 142. See Monroe to Untermeyer, 20 September 1915, Box 6, LUUD. Conrad Aiken and Ford Madox Hueffer were also instrumental in Monroe’s decision to publish Eliot’s poem. 143. Monroe, “Give Him Room,” Poetry, 6 (April 1915)1, 81–83. 144. Pound to Henderson, 14 June 1917, Folder 8.2 (1917–1949), Box 1, AHUT. 145. This included 790 for paid subscriptions, 254 guarantor copies, 149 for exchange and press, and 40 for advertisers, contributors, and miscel- laneous. Williams, Monroe, 296. 146. Williams, Monroe, 20–21.

4 Rescripting Gender Codes, Redrawing the Color Line: Anthologies and the Dream of Aesthetic Universalism

1. Du Bois, The Souls of Black Folk (Chicago: A. C. McClurg and Co., 1907 [1903]), 164. 2. Braithwaite, “Arcturus,” Phylon, 2 (1941), 258–59. 3. Poetry Society of America Newsletter, April 1937, 4. 4. Mencken to George Sterling, quoted in From Baltimore to Bohemia: The Letters of H. L. Mencken and George Sterling. Ed. S. T. Joshi (Madison: Fairleigh Dickinson University Press, 2001), 29. 5. Quoted in Lisa Steinman, Made in America: Science, Technology, and American Modernist Poets (New Haven: Yale University Press, 1987), 45. 6. Quoted in Lara Vetter, Modernist Writings and Religio- scientific Discourse (New York: Palgrave Macmillan, 2010), 11. 7. T. E. Hulme, “Romanticism and Classicism” (1911) and “A Lecture on Modern Poetry” (1908), in The Collected Writings of T. E. Hulme. Ed. Karen Csengeri (New York: Oxford University Press, 1994). 8. Daniel Albright makes clear that the relationship between modern- ists and science was not without problems or contradictions. D. H. Lawrence, for example, invoked Jewish stereotypes to criticize Einstein, while Wyndham Lewis and Pound found his theories more conge- nial to the hazy, insubstantial poetry and poetics of the Victorians. “Einstein deeply offended that section of the Modernist movement that doted on solidity, aggressive edges, and Sachlichkeit,” Albright argues. Quantum Poetics: Yeats, Pound, Eliot, and the Science of Modernism (New York: Cambridge University Press, 1997), 13. 248 Notes to Pages 129–135

9. Pound did not actually use the phrase “Make it New” until the 1930s. See Kurt Heinzelman, “ ‘Make It New’: The Rise of An Idea,” in Make It New: The Rise of Modernism. Ed. Kurt Heinzelman (Austin: Harry Ransom Humanities Research Center, 2004): 131–34. In their three-volume study of the role of women in twentieth- century literature, Sandra M. Gilbert and Susan Gubar document the “sexualized visions of change and exchange”: No Man’s Land: The Place of the Woman Writer in the Twentieth Century, Vol. I: The War of Words (New York: Yale University Press, 1989); Vol. II: Sexchanges (1989); Vol. III: Letters from the Front (1995). 10. In On Beauty and Being Just (New York: Princeton University Press, 1999), Elaine Scarry traces the gendered division of beauty to the eigh- teenth century when Kant divided aesthetics into two categories, deem- ing beauty a mere charm, with female associations, and elevating the masculine- associated sublime, with its ability to move individuals. Also see Rita Felski, The Gender of Modernity (Cambridge, MA: Harvard University Press, 1995). 11. Anne Ferry, Tradition and the Individual Poem: An Inquiry into Anthologies (Stanford: Stanford University Press, 2001), 5, 202–10. Ezra Pound, meanwhile, referred to The Golden Treasury as “that stinking sugar teat Palgrave,” and built his critical opinions in contrast to the book’s con- tents. Frank Lentricchia discusses Pound’s views of Palgrave in Modernist Quartet (New York: Cambridge University Press, 1994), 55–61. 12. See Alan Golding, From Outlaw to Classic: Canons in American Poetry (Madison: University of Wisconsin Press, 1995), Craig S. Abbott, “Modern American Poetry: Anthologies, Classrooms, and Canons,” College Literature, 17 (1990) 2/3, 209–21, Timothy Morris, Becoming Canonical in American Poetry (Urbana: University of Illinois Press, 1995), and Gerald Graff, Professing Literature (Chicago: University of Chicago Press, 1987). 13. For more on black culture in this period, see Post- Bellum, Pre-Harlem: African American Literature and Culture, 1877–1919. Eds. Barbara McCaskill, Caroline Gebhard (New York: New York University Press, 2006). 14. Nina Miller, Making Love Modern: The Intimate Public Worlds of New York’s Literary Women (New York: Oxford University Press, 1999), 210–11, 216. Marureen Honey makes this argument as well in Shadowed Dreams: Women’s Poetry of the Harlem Renaissance (New Brunswick, NJ: Rutgers University Press, 1989), 2–3, 6–7, 20–21. 15. Rittenhouse, My House of Life, 225–26. 16. Guiney was quoting Charles Lamb when she said this. Horace Gregory, Marya Zaturenska, A History of American Poetry, 1900–1940 (New York: Harcourt, Brace, 1946), 83. 17. Rittenhouse to Orton Tewson, 1925, JRVA. 18. In 1890 there were 8,125 African Americans in Boston, which constituted 1.8 percent of the total population. By 1920 that number had increased to 16,350 (2.2 percent), 5,334 of whom lived in Cambridge. A full two- thirds of Boston’s black citizens lived in integrated settings. In 1904 the Boston Sunday Herald featured the headline “Boston as the Paradise of the Negro” with quotes from prominent black Bostonians. Mark Schneider, Notes to Pages 135–138 249

Boston Confronts Jim Crow, 1890–1920 (Boston: Northeastern University Press, 1997), x, xii, 4, 7. 19. Braithwaite, “The House under Arcturus,” Phylon 2 (1941) 1, 132. 20. Braithwaite, “Arcturus,” Phylon, 2 (1941) 2, 135–36. 21. See Stephen Fox, The Guardian of Boston: William Monroe Trotter (New York: Atheneum, 1970). 22. Butcher, BR, 11–13, 18, 246, 249. 23. Braithwaite to Ray Stannard Baker, 3 October 1907. Quoted in BR, Butcher, 245–47. 24. Matthew Arnold, Culture and Anarchy: An Essay in Social and Political Criticism (New York: Macmillan Co., 1920 [1869]), 31. 25. Braithwaite, “Some Contemporary Poets of the Negro Race,” Crisis, April 1919. Quoted in BR, Butcher, 53. 26. For a discussion of aesthetics among African-American artists, authors, and academics, see Russ Castronovo, Beautiful Democracy: Aesthetics and Anarchy in a Global Era (Chicago: University of Chicago Press, 2007). 27. Jeffrey Perry, Hubert Harrison: The Voice of the Harlem Renaissance, 1883– 1918 (New York: Columbia University Press, 2009), 69–72. 28. James Weldon Johnson, Book of American Negro Poetry (New York: Harcourt, Brace & Co., 1922), 18. In 1906 Braithwaite had lobbied unsuc- cessfully to find a publisher for an anthology of African- American verse; he handed over the idea to Johnson who, fifteen years later, was able to find a publisher and reap a hefty profit. Braithwaite, who worked on the anthology with Johnson for eighteen months, received no financial recompense. Alain Locke to Charlotte Mason, 25 February 1931, Box 69, Folder 1, ALHU. 29. Braithwaite, “Arcturus,” Phylon, 2 (1941) 2, 136. 30. Braithwaite, “Arcturus,” Phylon, 3 (1942) 1, 35. 31. Braithwaite, The House of Falling Leaves: With Other Poems (Boston: John W. Luce and Company, 1908), 61. 32. Howard Meyer, Colonel of the Black Regiment: The Life of Thomas Wentworth Higginson (New York: W.W. Norton, 1967), 162. 33. Meyer, Colonel, 296. Although three volumes of Dickinson’s Poems were published between 1890 and 1892 and sold well, the punctuation marks, syntax, and structure were altered significantly. Her influence expanded when Thomas Johnson restored the texts to their original versions in a three- volume edition, The Poems of Emily Dickinson (Cambridge, MA: Harvard University Belknap Press, 1955). Even those did not con- vey with complete accuracy Dickinson’s writing. For an examination of Dickinson’s manuscripts, see Betsy Erkkilia, “The Emily Dickinson Wars,” The Cambridge Companion to Emily Dickinson. Ed. Wendy Martin (New York: Cambridge University Press, 2002), 11–29. 34. Gary Williams, Hungry Heart: The Literary Emergence of Julia Ward Howe (Amherst: University of Massachusetts Press, 1999), 1, 136. Toward the end of his life, Higginson sided with Booker T. Washington’s plan for racial uplift through compliance over the strategy of Du Bois. In 1909 Du Bois invited the then eighty-five- year- old Colonel to attend the organiza- tional meeting of what became the NAACP, but Higginson declined. 250 Notes to Pages 138–143

35. Braithwaite, “Arcturus,” Phylon, 2 (1942) 2, 190–92. 36. OHCU, 74. For a full discussion of the racial issues that colored Braithwaite’s life and career, see Lisa Szefel, “Encouraging Verse: William S. Braithwaite and the Poetics of Race,” New England Quarterly (March 2001), 32–61. 37. Braithwaite to Arthur Upson, 30 December 1906, Box 19, WBVA. 38. The Book of Georgian Verse appeared in 1908 followed by The Book of Restoration Verse in 1909. Braithwaite completed the final volume, on Victorian verse, in three years but could not get it to print because publishers would not grant copyright permission for crucial selections from Tennyson, Arnold, and other writers. Braithwaite to Temple Scott, Brentano’s, 9 June 1909. Butcher, BR, 250. 39. OHCU, 72. 40. Braithwaite to Arthur Upson, 26 April 1908, Box 19, WBVA. 41. OHCU, 7. 42. OHCU, 7. 43. Quoted in Roy Harvey Pearce, The Continuity of American Poetry (Princeton, NJ: Princeton University Press, 1961), 255. 44. According to Braithwaite, the Transcript had a daily circulation of 35,000. The Wednesday and Saturday editions, which contained the Magazine section, drew the most subscribers, with the Saturday issue selling 80,000 copies nationwide. OHCU, 18. 45. Braithwaite, “Poetic Criticism,” The Poetry Journal, 1912, 38–40. 46. Braithwaite, “Poetic Criticism,” 38–40. 47. Matthew Arnold, “The Study of Poetry,” Poetry and Criticism of Matthew Arnold. Ed. Dwight Culler (Boston: Houghton Mifflin, 1961), 306. 48. Arnold, “The Function of Criticism at the Present Time,” in Poetry and Criticism, 247, 258. 49. The Poems and Sonnets of Louise Chandler Moulton (London: Macmillan and Co., 1909), xvii. 50. Reedy to Teasdale, 22 October 1912, STVA. 51. Spingarn, “The New Criticism,” Criticism in America: Its Function and Status (Harcourt, Brace and Co., 1924), 11. 52. Braithwaite, “The Function of Poetry in the Twentieth Century” (unpub- lished mss [ca. 1916]), Box 2, WBHH. Braithwaite, “The Verse of Kendall Banning,” BET, 22 June 1921. 53. Braithwaite, “The Year in Poetry,” Bookman, March 1917. Quoted in BR, Butcher, 35. 54. Braithwaite, Anthology of Magazine Verse for 1913 (Cambridge: William Braithwaite), x. 55. Braithwaite, Anthology of Magazine Verse for 1915 (New York: Gomme & Marshall), xxii. 56. After reading Braithwaite’s admiring 1910 review of The Town Down the River (dedicated to Roosevelt), Robinson sought out Braithwaite in Boston, beginning a long and strong friendship. Louis Coxe, Edwin Arlington Robinson: The Life of Poetry (New York: Pegasus, 1969), 82. In 1920, Braithwaite encouraged Robinson to press Macmillan to issue Notes to Pages 143–148 251

a collected edition of his verse. Robinson initially desisted but, when Braithwaite insisted, finally relented. The volume sold well and was awarded the Pulitzer Prize in 1922. Hagedorn, Robinson, 325. Robinson refused, however, Braithwaite’s scheme to get poets and their work onto film. In the 1920s, Robinson came to the aid of his friend several times. Braithwaite recalled that if it were not for the interventions of Robinson, Bliss Perry, and Robert Hillyer, his financial situation would have been completely untenable. Braithwaite to Edith Mirick, 16 January 1930, Box 17, WBVA. 57. Braithwaite, Anthology of Magazine Verse for 1914 (New York: Laurence Gomme), xv, xvii. 58. Braithwaite, “Percy MacKaye and the Nation’s Rebirth,” BET, 12 January 1916. 59. Braithwaite, “Three Poets of the New Age,” BET, 19 December 1914. 60. Teasdale self- published her first book Sonnets to Duse (1907) but did not receive wide acclaim until Helen of Troy appeared in 1911. Rivers to the Sea (1915) and Love Songs (1917) both sold well and solidified her reputation. The first Pulitzer Prize awarded to a work of poetry was given to Teasdale in 1918 for Love Songs. 61. “Notable Books in Brief Review,” The New York Times, 21 October 1917, 51. 62. “Miss Teasdale’s Prize,” The New York Times, 16 June 1918, 55. 63. Earle to Braithwaite, 12 September 1912, Box 6, WBHH. 64. The Lyric Year: One Hundred Poems. Ed. Ferdinand Earle (New York: Mitchell Kennerley, 1912), 132–37. 65. Lyric Year, Earle, 180–88. 66. Matthew Bruccoli, The Fortunes of Mitchell Kennerley: Bookman (New York: Harcourt Brace Jovanovich Publishers, 1986), 59–60. 67. Poetry (September 1913), 131. Nancy Milford’s Savage Beauty: The Life of Edna St. Vincent Millay (New York: Random House, 2001), 76, 78–79. 68. Untermeyer to Abercrombie, 18 February 1913, Box 40, LUUD. 69. Rittenhouse, My House of Life, 250–51. 70. Braithwaite wrote this in a review of Millay’s Renascence and Other Poems, “A Poet of Renascence,” BET, June 1918, 6. 71. Braithwaite, “The Fine Art of An American Poet,” review of Louis Ledoux, The Story of Eleusis, BET, 28 October 1916. 72. Braithwaite, “The Soul of Spoon River,” BET, 1 May 1915; “The ‘Spoon River’ Man Takes Our Measure,” BET, 21 August 1915; “More Hot News from Spoon River,” BET, 29 March 1916. 73. Braithwaite, “Viereck! His Latest Book of Self-Complacent Verse,” BET. 74. Braithwaite, “More Recent Verse,” BET, 1913. 75. Thompson, Frost, 72. 76. Braithwaite, “Robert Frost, New American Poet: His Opinions and Practice—An Important Analysis of the Art of the Modern Bard,” BET, 8 May 1915, 4. 77. W. D. Howells, “Editor’s Easy Chair,” Harper’s Magazine, 131 (June– November 1915), 635. 252 Notes to Pages 148–152

78. Quoted in Lawrence Thompson, Robert Frost: The Years of Triumph, 1915– 1938 (New York: Holt, Rinehart & Winston, 1970), 5, 519. 79. OHCU, 26. 80. Letter from Harper’s magazine editor to Braithwaite, 4 May 1914, WBVA; and OHCU, 142–43. 81. OHCU, 85. Wright created the SS Van Dine mystery novels. 82. Some of the requests can be found in Box 12, WBVA. 83. Ledoux had studied with Columbia Professor and poet George Woodberry who, like Braithwaite, viewed the poet as a vessel of inspiration, passion, and emotion, a passive intermediary between earth and the eternal. George Woodberry, The Inspiration of Poetry, 225–30. Braithwaite named one of his sons after Ledoux and the others after the poets he loved: Fiona Lydia Rossetti, Katharine Keats, Edith Carman, Arnold, Francis Robinson. His third son was William, Jr. The sinking of the Lusitania hit Braithwaite especially hard because Charles Lauriat, Jr. had been on board, returning from one of his semi-annual trips to England to buy rare books. OHCU, 160–61. 84. OHCU, 148. 85. OHCU. Braithwaite noted, however, that the professordid not use such gentle words. 86. More to Braithwaite, Braithwaite Papers, Box 13, WBVA. 87. See, for example, Braithwaite to Harold Pulsifer, editor of The Outlook, 4 May 1926, Box 3, WBVA. 88. “Casual Comment,” 1 February 1915, 73, quoted in Williams, Monroe, 7. 89. Percy MacKaye to Braithwaite, 13 January 1915, Braithwaite Papers 8990, Box 9, Folder 195, WBVA. 90. Widdemer, Friends, 39. 91. Markham to Braithwaite, 3 February 1916, Box 12, WBHH. 92. Kline, “William S. Braithwaite,” BET, 30 November 1915. 93. Holley to Braithwaite, 2 December 1915, Box 7, WBHH. 94. OHCU, 108–9. 95. The Poetry Review lasted from May 1916 to February 1917. Lowell had secured five subscribers to pay for the editor’s salary and printing costs. But Braithwaite, stretched thin already with his anthology work and BET duties, could not keep his commitment. He had agreed to the position only because he needed the money to support his wife and their eight children. 96. H. T. Schnittkind, “The Aims of The Stratford Journal” (Autumn 1916), 3–4. The journal was published from 1916 until 1925, though Braithwaite’s work on it was limited. See also Lorenzo Thomas, “W. S. Braithwaite vs. Harriet Monroe: The Heavyweight Poetry Championship, 1917,” in Aldon Nielsen, Reading Race in American Poetry: “An Area of Act” (Chicago: University of Illinois Press, 2007), 84–106. 97. Edward Butscher, Conrad Aiken: Poet of White Horse Vale (Athens: University of Georgia Press, 1988), 86, 92, 110, 149, 157, 469. 98. Buetscher, Aiken, 216–17. 99. Braithwaite, Anthology of Magazine Verse for 1915, xvii. Notes to Pages 153–157 253

100. Braithwaite, Anthology . . . 1918, ix, x. 101. Marsh to Monroe, 27 May 1915, HMUC. 102. Braithwaite to Olive Lindsay Wakefield [Vachel’s sister], 18 June 1945, in Butcher, BR, 292. In the letter, Braithwaite also criticized Edgar Lee Masters’s biography of Lindsay: “I don’t think Masters’ cynical tem- per had either the sympathy or understanding to interpret or portray Vachel’s art or spirit.” 103. Ibid. In an obituary note, Sinclair Lewis described Lindsay as “a sort of Billy Sunday in rhyme.” Miscellaneous Files: Za Lewis, W- Z, 9 January 1932, MFBY. 104. Lindsay, The Congo and Other Poems (New York: Macmillan Co., 1915 [1914]), 3–11. 105. Monroe, “Review of Vachel Lindsay, The Congo and Other Poems,” Poetry, 5 (March 1915) 6, 296–99. 106. Quoted in Walter Daniel, “Vachel Lindsay, W. E. B. Du Bois, and The Crisis,” The Crisis (August–September 1979), 292 [291–93]. For critical readings of the poems, see Rachel Blau DuPlessis, Genders, Races and Religious Cultures in Modern American Poetry, 1908–1934 (New York: Cambridge University Press, 2001), 87–97, Susan Gubar, Racechanges: White Skin, Black Face in American Culture (New York: Oxford University Press, 1997), 140–43. 107. Quoted in Kenny J. Williams, “An Invisible Partnership and an Unlikely Relationship: William Stanley Braithwaite and Harriet Monroe,” Callaloo 10 (Summer 1987), 520. 108. In his Columbia Oral History, Braithwaite indicated that they met after he read the introduction to his 1916 anthology, but their correspon- dence suggests they met at least two years earlier. OHCU, 106–7. 109. Braithwaite to Mrs. Chenery, 12 April 1926, Box 3, WBVA. 110. OHCU, 124. 111. Quoted in Thompson, Frost, 46. 112. Thompson, Frost, 43. Braithwaite later learned that he had made a fatal error, and remarked in his taped memoirs, “So I introduced them, and I don’t think Frost ever forgave me.” OHCU, 124. 113. Harcourt to Braithwaite, 20 March 1915, Box 7, WBHH. 114. OHCU, 136. 115. Frost to Untermeyer, 22 December 1915, quoted in Thompson, Frost, 64, 535. In the published version of the letter, however, Untermeyer changed “niggers” to “Braithwaite.” Letters to Untermeyer, 19. 116. Frost to John Bartlett, 20 December 1920, Box 5, RFVA. 117. Sterling to H.L. Mencken, 1 March 1919, Sterling, From Baltimore, 54. 118. Sterling, From Baltimore, 55, 254. 119. Untermeyer to H. L. Mencken, 20 December 1918, Reel 64, HMNY. 120. Pound to Henderson, 14 October 1916, Folder 7.14, Box 7, AHUT; Pound included a note “Please destroy this last sheet” at the end of the letter. Pound to Henderson, 16 January 1913, Folder 7.14, Box 7, AHUT; Pound to Henderson, 16 January 1913, Folder 7.14, Box 7, AHUT. Also pub- lished in Letters, Nadel: 18, 170, 15, 254 Notes to Pages 157–162

121. Fletcher to Monroe, 29 January 1917, Box 32, Folder 8, HMUC. 122. Braithwaite, “Five Women and the Muse,” BET, November 1914. 123. Braithwaite, “The Emergence of a Chicago Versifier,” 13 May 1916, and “An American Poet: The Work and the Message of Ezra Pound,” BET. 124. Braithwaite, Anthology of Magazine Verse for 1916 (New York: Laurence J. Gomme, 1916), xiv–v. 125. Henderson to Monroe, June 1916, Box 33, Folder 5, PMUC. By permis- sion of the Special Collections Research Center, University of Chicago Library. 126. Henderson to Monroe, 1 December 1916, Box 33, Folder 6, HMUC. 127. Sandburg to Henderson, 30 December 1916, Folder 9.2, Box 9, AHUT. 128. Henderson to Burton Kline, 6 November 1916, BET. 129. In a 27 November 1917 letter to Henderson, Sandburg granted his sup- port to this scheme, saying “A pathetic personage has been permitted to grow into a fungus mistaken for what it grows on. The popery and kaiserism of it, the snobbery, flunkyism and intrigue, I’m on to it. All I can do is put up with it . . . I can only await a day of reckoning.” Folder 9.3, Box 8, AHUT. 130. Poetry 9 (January 1917): 211–14. 131. Tietjens wrote to Braithwaite: “Harriet Monroe seems to feel that as an associate editor of Poetry I ought not to appear in the magazine of a man who knocks us officially.” She counselled him to see the bigger picture: “The cause of poetry is so much bigger than what any of us can do as individuals that it seems to me rather ridiculous and petty to quarrel among ourselves.” 31 January 1917, WBVA. 132. Kate Buss reviewed the anthology for the Transcript. Amy Lowell wanted to use her connections with the paper’s owner to have the Transcript’s editor replaced, but Braithwaite did not want that. He rejoined the news- paper two months later. OHCU, 32. Further evidence that Braithwaite left his position because of Monroe’s interference with his newspaper duties comes from a letter Agnes Lee wrote to Braithwaite: “What you say about the Transcript reviews is quite a blow. I can hardly believe that Harriet Monroe had anything to do with it, however, unless you know positively . . . ” 26 March 1917, Box 11, WBVA. Ledoux’s advice was instrumental in the decision to return. He wrote, “If your decision to give up your work there is irreparable it will be such a loss to those of us who write poetry—I am thinking selfishly of E. A. and myself—that I had hoped you would have made up your mind to overlook this one disagreeable incident.” Ledoux to Braithwaite, 20 April 1917, Box 11, WBVA.

5 Paring Words, Crafting Images: The Economy of Authorship in the Literary Marketplace

1. Quoted in Jean Gould, Amy: The World of Amy Lowell and the Imagist Movement (New York: Dodd, Mead, 1975), 199–200. 2. H. D., “Priapus,” Poetry, 1 (January 1913) 4, 118. Notes to Pages 162–163 255

3. Harriet Monroe, “Notes,” Poetry (January 1913), 135. 4. Neil Roberts, A Companion to Twentieth Century Poetry (London: Blackwell Publishing, 2002), 133. 5. See, for example, S. Foster Damon, Amy Lowell: A Chronicle with Extracts from Her Correspondence (Hamden, CT: Archon Books, 1966 [1935]) and Gould, Amy. In Amy Lowell (New York: Harold Vinal, 1926), another con- temporary, Clement Wood, not exactly her friend, disparaged Lowell’s abilities as a poet and critic, concluding that her death would necessar- ily be followed by “silence,” not acclaim. Also see Melissa Bradshaw and Adrienne Munich, Selected Poems of Amy Lowell (2002) and Amy Lowell, American Modern. Eds. Adrienne Munich and Melissa Bradshaw (New York: Rutgers University Press, 2004); Melissa Bradshaw, “Outselling the Modernisms of Men: Amy Lowell and the Art of Self- Commodification,” Victorian Poetry (Spring 2000), 141–69; and Amy Lowell: Selected Poems (New York: Library of America, 2004) with an introduction by Honor Moore. 6. Historians have begun to pay more attention to the market-savvy strate- gies used by writers, intellectuals, and artists in building an audience. Important contributions to this understanding as it relates to modern poetry include Marketing Modernisms. Eds. Dettmar and Watts; Aaron Jaffe, “Adjectives and the Work of Modernism in an Age of Celebrity,” Yale Journal of Criticism 16 (2003). For more on the relationship between print culture and commerce, see Daniel Borus, Writing Realism: Howells, James, and Norris in the Mass Market (Chapel Hill: University of North Carolina Press, 1989); James West, American Authors and the Literary Marketplace since 1900 (Philadelphia: University of Pennsylvania Press, 2000); and Christopher Wilson, The Labor of Words: Literary Professionalism in the Progressive Era (Athens: University of Georgia Press, 1985). Susan Coultrap-McQuin analyzes the connection between women and non- commercial values such as love, hope, and charity in Doing Literary Business: American Women Writers in the Nineteenth Century (Chapel Hill: University of North Carolina Press, 1990). Convictions about the divide between literature and commerce may reflect what some historians of print culture refer to as a belief that mass culture led to “extensive” rather than “intensive” reading. That is, the reading revolution of the nineteenth century led to a focus on quantity rather than quality of reading; instead of lingering over texts, individuals consumed them much as they did toothpaste. For more on this division, see David Paul Nord, “Religious Reading and Readers in Antebellum America,” Journal of the Early Republic (Summer 1995), 241–72. Nord also provides a tax- onomy of reader response in Chicago during the 1910s and an analysis of the role played by interpretive communities in “Reading the Newspaper: Strategies and Politics of Reader Response, Chicago, 1912–1917,” Journal of Communication (Summer 1995), 66–103. 7. Gould, Amy, 304 and Lesley Lee Francis, “A Decade of ‘Stirring Times’: Robert Frost and Amy Lowell,” New England Quarterly (December 1986), 511 [508–22]. 256 Notes to Pages 163–167

8. Lowell to Fletcher, 26 December 1916, Box 9, ALHH. 9. Wood, Lowell, 16. 10. Lowell wrote this in response to a letter by Howard Cook, an editor at Moffat, Yard & Co. who inquired about the books she read as a child. The series of Rollo books, Grimm’s fairy tales, Hans Christian Anderson, Lord Braebourne, Thackery, Ruskin, and Cooper were among her youthful favorites. As a teenager she relished the works of Dickens, Trollope, Scott, and Charlotte Bronte. Lowell to Cook, 9 August 1919, Box 6, ALHH. 11. Quoted in Walker, Masks Outrageous, 29. 12. Christopher Benfey analyzes Percival Lowell’s interest in Asia and Mars in The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Old Japan (New York: Random House, 2003). 13. Louis Untermeyer, From Another World: The Autobiography of Louis Untermeyer (New York: Harcourt, Brace and Company, 1939), 102. 14. Edna Ferber to Untermeyer, 8 March 1916, Box 4, LUUD. 15. Pound to Henderson, 5 May 1916, Folder 7.14, Box 7, AHUT. 16. Gould, Amy, 34. 17. See Erica Hirshler, A Studio of Her Own: Women Artists in Boston, 1870– 1940 (Boston: MFA Publishers, 2001). 18. Quoted in Marilee Meyer, Inspiring Reform: Boston’s Arts and Crafts Movement (Wellesley, MA: Harry Abrams, Inc., 1997), 20. 19. Gould, Amy, 78. 20. Lowell to Monroe, 16 February 1914, Box 15, ALHH. Viereck published Lowell’s “The Basket” and “Stupidity” in the October 1914 issue. 21. The “commission arrangement” obligated the author to pay manufactur- ing and advertising fees. The publisher received a fifteen- percent com- mission of the proceeds, with the author receiving the remainder. The newly appointed editor at Houghton Mifflin, Ferris Greenslet, who left The Nation to assume the post, cautioned Lowell: “I gather you have no illusions in regard to the possibilities of sale for poetry in this inattentive age.” Greenslet to Lowell, 12 April 1912, Box 11, ALHH. 22. Gould, Amy, 98–99. 23. Amy Lowell, A Dome of Many-Coloured Glass (Boston: Houghton Mifflin, 1912), 75–77. Lowell switched from Houghton Mifflin to the Macmillan Company, publishing with them from 1916 to 1919, then returned to Houghton Mifflin. Macmillan issued an edition of the collection in 1915. 24. The poets who influenced Lowell’s free verse experiments were Albert Smain, Paul Fort, Henri de Regnier, Remy de Gourmont, and Emile Verhaeren. They served as the subjects for her critically acclaimed and widely read Six French Poets: Studies in Contemporary Literature (1915), which, by 1916, had gone into three printings. 25. A Dome of Many- Coloured Glass went into a second printing in 1915 as Lowell’s popularity increased. Gould, Amy, 105, 110. 26. Louis Untermeyer, The New Era in American Poetry (New York: Henry Holt, 1919), 140–41. 27. Arthur Davison Ficke, “Imagisme,” Poetry, 1 (March 1913) 6, 199 and Ezra Pound, “A Few Don’ts By An Imagist,” 200–206. Notes to Pages 167–172 257

28. See Stanley Coffman’s Imagism: A Chapter for the History of Modern Poetry (Norman: University of Oklahoma Press, 1951); Cyrena Pondrom, “H. D. and the Origins of Imagism,” Sagetrieb, 1 (Spring 1985), 73–97; William Pratt, The Imagist Poem: Modern Poetry in Miniature (New York: E.P. Dutton, 1963); and Pratt’s translation of Rene Taupin, The Influence of French Symbolism on Modern American (New York: AMS Press, Inc., 1985), Timothy Materer, “Make It Sell! Ezra Pound Advertises Modernism,” in Marketing Modernisms (Dettmar and Watt), 17–36. 29. Cyrena Pondrom makes this argument in “H. D.” My interpretation of H. D.’s “Priapus” is indebted to this article. 30. Pound quoted in Selected Letters of John Gould Fletcher. Eds. Lucas Carpenter et al. (Fayetteville: University of Arkansas Press, 1996): 13. Daniel Albright discusses synesthesia and modern poetry in “Exhibiting Modernism: A View from the Air,” in Make It New: The Rise of Modernism. Ed. Kurt Heinzelman (Austin: Harry Ransom Center, 2004): 42. 31. Lowell, Tendencies, 261, 268, 280, 297. 32. Ben F. Johnson, Fierce Solitude: A Life of John Gould Fletcher (Fayetteville: University of Arkansas Press, 1994), 20, 43. 33. Johnson, Fierce Solitude, 35. 34. The books Fletcher published were: The Book of Nature, The Dominant City, Fire and Wine, Fool’s Gold, and Visions of the Evening. 35. Quoted in Johnson, Fierce Solitude, 17. 36. Johnson, Fierce Solitude, 48. 37. Fletcher, Life Is My Song, 68. 38. Fletcher, Life Is My Song, 72, 110. 39. Lowell, Tendencies, 300–302, 327. 40. Lowell to Fletcher, 15 October 1916, Box 9, ALHH. 41. Lowell to Monroe, 15 September 1914, Box 15, ALHH. Lowell insisted the break occurred in large part because she refused to contribute $5,000 to Pound’s endeavor to create a literary journal in France, rather than because of any gaping artistic differences. 42. In a letter to Richard Aldington, she articulated her belief that, “If one plays poetry like politics, one must expect to be treated like a politician. I do not believe people succeed, in the long run, who do not take poetry as religion.” 7 December 1917, Box 1, ALHH. 43. “The New Movement in American Poetry,” The New York Times (7 January 1917). The unsigned author admired Lowell for “extracting beauty to its last drop from reluctant matter.” 44. Quoted in “The High Priestess of Vers Libre,” Literary Digest, 8 April 1916. 45. Walker, Masks Outrageous and Austere, 20. Also see Betsy Erkkila, The Wicked Sisters: Women Poets, Literary History, and Discord (New York: Oxford University Press, 1992). 46. For more information on H. D. and her literary circle, see Georgina Taylor, H. D. and the Public Sphere of Modernist Women Writers, 1913– 1946 (New York: Oxford University Press, 2001); Diana Collecott, H. D. and Sapphic Modernism, 1910–1950 (New York: Cambridge University 258 Notes to Pages 172–174

Press, 1999); and Cassandra Laity, H. D. and the Victorian Fin- de- Siècle: Gender, Modernism, Decadence (New York: Cambridge University Press, 1996). 47. Walker, Masks Outrageous, 27, 31, 41. 48. Quoted in Walker, Masks Outrageous, 143. Lillian Faderman was the first scholar to analyze homosexual themes in Lowell’s writing. See “Warding Off the Watch and Ward Society: Amy Lowell’s Treatment of the Lesbian Theme,” Gay Books Bulletin 1 (Summer 1979): 23–27 and “Writing Lesbian” in Surpassing the Love of Men: Romantic Friendship and Love between Women from the Renaissance to the Present (New York: Perennial, 1998). For more on Lowell’s lesbian identity, her tracing of a female, homosexual lineage for modern poetry, and the use of vers libre to evoke a lesbian erotic sensibility, see Mary Galvin, Queer Poetics: Five Modernist Women Writers (Westport, CT: Praeger Publishers, 1999), particularly chapter 2, “Imagery and Invisibility: Amy Lowell and The Erotics of Particularity.” Also see Paul Lauter, “Amy Lowell and Cultural Borders,” in Speaking the Other Self: American Women Writers. Ed. Jeanne Campbell Reesman (Athens: University of Georgia Press, 1997), 288–96. 49. Edward O’Brien to Braithwaite [n.d.], Box 9, WBVA. 50. Mabel Dodge Luhan, Movers and Shakers (New York: Harcourt Brace), 1936, 91. 51. Lowell to Bryher, 7 January 1919, Box 4, ALHH. 52. Carolyn Burke, Becoming Modern: The Life of Mina Loy (Berkeley: University of California Press, 1996), 191. 53. Lowell to Bryher, 7 January 1919, Box 4, ALHH. 54. Quoted in Walker, Masks Outrageous, 29. 55. Lowell to Aldington, 11 August 1918, Box 1, ALHH. 56. Lowell to Evans, 7 June 1918, Box 8, ALHH. Lowell, however, turned down a 1918 invitation to speak to an all-male organization called “The Writers,” that requested she speak on “The Woman Writer—Professional or Parasite?” 57. A Critical Fable (Boston: Houghton Mifflin, 1922). 58. Quoted in Walker, Masks Outrageous, 19. 59. Rittenhouse continued: “Her phraseology is graphic, arresting, often repulsive, sometimes grotesque, but always individual and frequently beautiful.” Rittenhouse, “A Year’s Harvest in American Poetry,” The New York Times Book Review (28 November 1915), 462. 60. Vita Sackville- West to Lowell, 1921, Box 20, ALHH. 61. Untermeyer, New Era, 144. After reading Untermeyer’s review Lowell initi- ated a friendship that grew in strength over the years. A gift of some pins prompted a letter from Lowell that revealed her consistent views about beauty. Asked if she would wear the pins in public Lowell replied: “No, my child, one does not spoil a thing of beauty for utilitarian purposes.” She would place them on a mantelpiece to serve their “proper purpose of being a delight to the eye.” Lowell to Untermeyer, 30 December 1915, Box 20, ALHH. Notes to Pages 174–179 259

62. See, for example, Philip Ainsworth Means to Lowell, 4 February 1920, Box 16, ALHH. 63. Marshall Schacht, 3 March 1923, Box 20, ALHH. 64. Lowell, Sword Blades and Poppy Seed (New York: Macmillan Co, 1914), vii. 65. Lowell to Anderson, 1 February 1916, Box 1, ALHH. 66. Wilkinson to Lowell, 29 January 1919, Box 20, ALHH. 67. Lowell, “A Consideration of Modern Poetry,” North American Review (January 1917). 68. Lowell expressed the same principles in a letter to Atlantic Monthly editor Ellery Sedgwick: “I personally feel that art should be true, sincere, and beautiful, even if sometimes with the beauty of a Gothic grotesque.” Lowell to Sedgwick, 2 April 1914, Box 18, ALHH. 69. Lowell, Sword Blades, viii. 70. Lowell, Sword Blades, xi. In 1893, Pater had declared in his famous con- clusion to Renaissance that logic and theories detracted from the power of art and poetry. He deemed as successes those individuals who could “burn always with this hard, gem-like flame, to maintain this ecstasy.” The brief moments of splendor offered by beauty promised a curative effect: “While all melts under our feet, we may well grasp at any exqui- site passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment or any stirring of the senses, strange dyes, strange colours, and curious odours, or work of the artist’s hands, or the face of one’s friend.” Walter Pater, The Renaissance: Studies in Art and Poetry. Ed. Donald Hill (Berkeley: University of California Press, 1980), 189. 71. Lowell, Sword Blades, 89–90. 72. Lowell, Sword Blades, 155–57. 73. Lowell, Sword Blades, 42–43. 74. Amy Lowell, Can Grande’s Castle (New York: Macmillan Co., 1918), xiv–v. 75. Lowell, Can, 227–31. 76. Mary Brewerton DeWitt to Lowell, 18 November 1921, Box 7, ALHH. 77. Ellen Carter to Lowell, 15 October 1918, Box 7 and Leighton Rollins to Lowell, 30 September 1921, Box 19, ALHH. 78. Mabel Loomis Todd to Lowell, 4 August 1922, Box 19, ALHH. Todd and her husband were friends with Lowell’s brother Percival. 79. Virginia Livingstone Hunt to Lowell, 21 February 1916, Box 12, ALHH. 80. Moore, Amy Lowell, xvi. 81. Lowell to H. D., 23 November 1915, Box 1, ALHH. 82. Lowell also cited Symbolist Remy de Gourmont’s epistemological stance: “The sole excuse which a man can have for writing is to write down him- self, to unveil for others the sort of world which mirrors himself in his individual glass . . . He should create his own aesthetics; and we should admit as many aesthetics as there are original minds, and judge them for what they are and not for what they are not.” Amy Lowell, Some Imagist Poets (Boston: Houghton Mifflin, 1915). 260 Notes to Pages 179–182

83. Lowell had encouraged Harriet Monroe to do the same, suggesting that she arrange with the International News Company to stock Poetry in railway book stalls and to issue posters with each issue to place in book shop windows and on newsstands. To prove her methods, Lowell secured subscriptions from acquaintances and local bookstores. Lowell to Monroe, 15 September 1916, 16 September 1916, Box 15, ALHH. 84. In 1917, the publisher wanted to renew the contract for the anthol- ogy but, by then, Aldington was fighting in France, overseas mail had been limited, and Lowell felt the series “has done its work.” Lowell to Florence Wilkinson, 29 May 1917, Box 8, ALHH. 85. Lowell to H. D. 13 October 1916, Box 1, ALHH. 86. Ibid. 87. Lowell to Untermeyer, 30 August 1918, Box 20, ALHH. 88. In the same letter Lowell enclosed one hundred dollars as a wedding present to Pound and his wife. Lowell to Pound, 7 April 1914, Box 16, ALHH. 89. Lowell kept her trips to the South at a minimum. “To this day the Southern accent fills me with terror,” she wrote. Born in 1874, the Civil War, although over for nine years, permeated her home. “I was surrounded by stories about it, and feeling in my family still ran high although the war was over. I was brought up on war songs, and the whole thing assumed at once the horror of actual happening and the mysticism of a legend.” Lowell to John Drinkwater, 11 October 1919, Box 7, ALHH. 90. Lowell to Fletcher, 4 February 1920, Box 9, ALHH. 91. Lowell to May Becker, 7 July 1923, Box 3, ALHH. 92. Bishop to Lowell, 22 January 1917, Box 3, ALHH. 93. Katharine Sergeant Angell to Lowell, 28 February 1920, Box 2, ALHH. 94. Lowell to George Brett [an editor at Macmillan’s], n.d., Box 4, ALHH. 95. Lowell appropriated the phrase “at once realistic and romantic” from an essay by Professor Dowden who wrote that Heinrich Heine had worked toward an art that combined the two strains, but never quite achieved this synthesis. Lowell, Tendencies, 142. 96. Lowell, Tendencies, 237. 97. Lowell, Tendencies, 343. 98. Lowell, Tendencies, 80–136, 181, 343. 99. Lowell noted this in the section about Masters, but argued the same thing, in different words, about Sandburg. Tendencies, 157. 100. Lowell, Tendencies, 158. 101. Lowell, Tendencies, 175. 102. Lowell, Tendencies, 174. 103. Lowell, Tendencies, 175. In making this declaration, Lowell had to account for the output of her good friend D. H. Lawrence. Although she admitted that he was also “greatly preoccupied with sex,” she deliber- ately tried to derail comparison by maintaining that in Lawrence’s work, “there is a certain rapture, sex is treated as a burgeoning of the mental and physical life, he throws over it the transparent and glittering cloak Notes to Pages 182–186 261

of joy.” Lowell, Tendencies, 174–75. Also see Lowell’s survey of Lawrence’s poetry, “A New English Poet,” The New York Times, 20 April 1919. 104. Lowell, Tendencies, 184. 105. Lowell and Sandburg also commiserated together about public intel- lectuals who ignored poetic developments. Sandburg wrote to Lowell: “I am ready to serve notice on Walter Lippmann that a booby prize for aimless cleverness is due him. His nostrils are keen for the revolution everywhere except in literary style. In an electric motor age he writes like an early steam engine. He defends or justifies violence and sabotage in the labor movement while gesturing desperately at identical tactics of non- conformity in the sphere of action where new methods of reach- ing human thought and emotion are being daringly experimented.” Sandburg to Lowell, 2 April 1916, Box 20, ALHH. 106. Lowell, Tendencies, 201–2, 214, 216. Lowell enjoined Sandburg to help her recruit like-minded writers: “What we need in American poetry and American literature is to can the pose, and be honest, and straightfor- ward, and sincere.” 10 December 1917, Box 18, ALHH. 107. Lowell, Tendencies, 218, 222, 232, 261, 268. 108. Quoted in Kilmer, “How Does the New Poetry Differ from the Old?” NYT Magazine (26 March 1916), 109. Lowell to Masters, 20 July 1917, Box 15, ALHH. 110. Monroe, Poet’s Life, 401. 111. Lowell to MacLeish, 25 June 1924, Box 14, ALHH. 112. Lowell to MacLeish, 14 March 1925, Box 14, ALHH. 113. Quoted in Braithwaite, “Miss Amy Lowell on Our Coming Shelleys,” BET, 2 June 1915. 114. Lowell to Irita Van Doren, 16 July 1920, Box 20, ALHH. Lowell expressed her admiration for Arnold in other letters, interviews, and books. Ellery Sedgwick sighed with relief when he read this in Lowell’s 1917 Tendencies in Modern American Poetry: “I consider it quite wonder- ful . . . that you should be fond of such poets as Arnold.” Sedgwick to Lowell, 31 December 1917, Box 20, ALHH. 115. Joyce Kilmer, “How Does the New Poetry Differ from the Old?” 8. 116. Wood, Amy Lowell, 31. 117. Lowell cited as further proof her work on a biography of Keats. Lowell to Coblentz, 16 April 1924, Box 5, ALHH. She responded to many other reviewers, acclaimed and obscure, nearby and far afield, to further explain and clarify the new poetry. 118. Lowell to Editor, BET, Box 4, ALHH. 119. Lowell to Lowe, 27 October 1919, Box 12, ALHH. 120. Lowell to H. D., 23 November 1915, Box 1, ALHH. 121. Lowell to Anderson, 17 July 1916, Box 2, ALHH. 122. Lowell to Williams, 13 October 1916, Box 21, ALHH. 123. Fletcher, Life Is My Song, 148. 124. Wood, Lowell, 34. 125. Eleanor Belmont, Ada’s Russell associate from her days in the theater, wrote this in her 1957 autobiography. Quoted in Gould, Amy, 177. 262 Notes to Pages 187–192

6 Romantic Individualism, Radical Politics: Lyric Solidarity in Peace and War

1. Randolph Bourne, Untimely Papers (New York: B.W. Huebsch, 1919), 145–6. 2. Wheeler to Untermeyer, 2 June 1914, Box 11, LUUD. 3. Untermeyer, From Another World, 48–49. 4. Untermeyer, From Another World, 46–47. 5. Eastman, Enjoyment of Living, 304. 6. Also see Michael Loewy and Robert Sayre, Romanticism Against the Tide of Modernity (Durham, NC: Duke University Press, 2001), and Casey Nelson Blake, Beloved Community: The Cultural Criticism of Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Lewis Mumford (Chapel Hill: University of North Carolina Press, 1990) 7. Waldo Frank to James Oppenheim, 17 August 1916, Box 1, Folder 1, JONY. 8. Milton Cantor, Max Eastman (New York: Twayne Publishers, Inc., 1970), 60. 9. Max Eastman, Enjoyment of Living (New York: Harper & Bros., 1948), 434. 10. Untermeyer, From Another World, 8. 11. Untermeyer to Mrs. Asbury, 3 April 1918, Box 9, LUUD. 12. Untermeyer, From Another World, 15, 17, 34, 36. 13. Untermeyer sent a copy of his first book to Viereck, who responded with the condescending reply: “It is my invariable habit to treat minor poets and their verses with kindess. I am glad that I made no exception in your case. Two or three lines in the ‘Ballade’ were truly beautiful . . . There is a certain music in those lines which, no doubt an echo of my own, nevertheless seems sweet to my ears in spite of the fact that some lines are clumsy in construction and lacking in poetic merit.” The animos- ity between the two men increased as the decade progressed. Viereck to Untermeyer, 20 December 1911, Box 9, LUUD. 14. The committee received 354 submissions. According to Hert’s estimate, The International had 2,500 subscribers plus newsstand sales. Herts to Untermeyer, 25 October 1911, 10 January 1912, Box 5, LUUD. 15. B. W. Huebsch to Louis Untermeyer, 13 March 1911, Box 5, LUUD. 16. Benét to Untermeyer, 19 January 1913, Box 2, LUUD. 17. Charles Hanson Towne to Untermeyer, 1 January 1911, Box 8, LUUD. 18. Wood to Untermeyer, 17 May 1913 and 2 May 1913, Box 10, LUUD. 19. Sicher to Untermeyer, 26 July 1918, Box 8, LUUD. 20. G.A. Peckham to Untermeyer, 25 April 1912, Box 7, LUUD. 21. Untermeyer, From Another World, 255. 22. Untermeyer, From Another World, 37–39; Untermeyer, Bygones, 31. 23. Quoted in Eastman, Enjoyment of Poetry, 559. 24. Max Eastman, Enjoyment of Living (New York: Harper & Bros., 1948), 292. 25. Eastman, Enjoyment of Living, 269. Notes to Pages 193–197 263

26. Eastman, Enjoyment of Living, 301, 312. 27. Eastman to Untermeyer, 12 September 1913, and April 1914, Box 4, LUUD. 28. Eastman, Enjoyment of Living, 32, 313. 29. Max Eastman, Enjoyment of Poetry (New York: Charles Scribner’s Sons, 1913), 11, 135, 148, 152. 30. Eastman, Enjoyment of Poetry, 193–97. 31. Eastman, Enjoyment of Poetry, 174–77, 158–60, 161. 32. Gold to Untermeyer, [n.d., ca. 1916], Box 4, LUUD. 33. Gold to Untermeyer, [n.d., ca. 1916], Box 4, LUUD. 34. James Oppenheim, The Mystic Warrior (New York: Alfred A. Knopf, 1921). 35. Untermeyer, From Another World, 81–2. 36. James Oppenheim, Songs for the New Age (New York: The Century Co., 1914), 10, 52. Oppenheim dedicated the book to, among others, Louis and Jean Untermeyer, Clement Wood, and Dr. Beatrice Hinkle, his psycho- analyst and translator of Carl Jung’s The Psychology of the Unconscious. 37. Oppenheim, “Report on the Planet, Earth,” War and Laughter (New York: The Century Co., 1916), 54. 38. Untermeyer to Mrs. Asbury, 3 April 1918, Box 9, LUUD. 39. Gladys Baker to James Oppenheim, [n.d., ca. 1924], Box 1, Folder 1, JONY. 40. Beverley Kaye to James Oppenheim, 10 June 1930, Box 1, Folder 2, JONY. 41. Oliver Jenkins to James Oppenheim, 19 February 1923, Box 1, Folder 2, JONY. 42. Edna Ferber and Oppenheim bought Keller a copy of The Golden Bird with a braille inscription. Keller to Oppenheim, 7 January 1924, Box 1, Folder 2, JONY. 43. Edward Booth to Oppenheim, 11 November 1917, Box 1, Folder 1, JONY. 44. Braithwaite made this remark about Oppenheim’s 1914 Songs for the New Age in a 28 May 1921 Transcript review of the poet’s verse autobiography The Mystic Warrior (New York: Alfred A. Knopf, 1921). 45. Braithwaite, “Three Poets of a New Age,” BET, 1914. 46. Braithwaite, “Percy MacKaye,” 12 January 1916. 47. Braithwaite, “Review of Louis Untermeyer’s Challenge,” BET, 26 September 1914; and Braithwaite’s review of Untermeyer’s 1919 anthology The New Era in American Poetry in BET, 5 April 1919. 48. Untermeyer, Bygones, 49, and From Another World, 209. 49. The Letters of Robert Frost to Louis Untermeyer. Ed. Louis Untermeyer (New York: Holt, Rinehart and Winston, Inc., 1963), 8. 50. Letters of Robert Frost, 292. 51. Letters of Robert Frost, 52. Carl Sandburg also warned Untermeyer against such writing: “One cannot be a journalist and know the eternal things!” Sandburg to Untermeyer, July 1920, Box 7, LUUD. 52. Untermeyer, From Another World, 24. 264 Notes to Pages 198–204

53. Louis Untermeyer, —And Other Poets (New York: Henry Holt & Co., 1916), vii. 54. Nan Apothrecker to Untermeyer, 9 January 1913, Box 1, LUUD. 55. The Letters of Robert Frost, 5. 56. Sandburg to Untermeyer, 8 June 1916, Box 7, LUUD. 57. Christopher Kamrath, Randolph Bourne’s Malcontents: Cultural Politics, Democratic Practice, and the Domestication of War, 1917–1918 (New York: Routledge, 2009). When Bourne made a call for discriminating criticism that linked poetry to the “larger movement of ideas and social move- ments and the peculiar intellectual and spiritual color of the times,” Monroe shot back with a warning that “Movements pass, but beauty endures.” For the exchange of ideas, see Monroe, Poet’s Life, 407–11. 58. Lew Sarrett to Untermeyer, 18 November 1921 and 10 December 1921, Box 8, LUUD. 59. Willard Wattles to Untermeyer, 10 May 1917, Box 10, LUUD. 60. Untermeyer, From Another World, 330–31. 61. Frost to John Bartlett, 8 December 1913, Box 5, RFVA. 62. John, Best Years, 138, 153. 63. Untermeyer, The New Era In American Poetry (New York: Henry Holt & Co., 1919), 9–10. 64. Untermeyer, New Era, 11–12. 65. Untermeyer, New Era, 14. 66. Aiken to Untermeyer, 22 December 1919, 9 January 1921, Box 1, LUUD. 67. Aiken to Untermeyer, 20 February 1923, Box 1, LUUD. 68. Sandburg to Untermeyer, December 1916, Box 7, LUUD. 69. Sandburg to Untermeyer, January 1920, Box 7, LUUD. 70. Fletcher to Untermeyer, 24 November 1919, Box 4, LUUD. 71. Markham to Untermeyer, 6 September 1921, Box 6, LUUD. 72. Max Eastman, Colors of Life: Poems and Songs and Sonnets (New York: Alfred A. Knopf, 1918), 13, 99. 73. Cantor, Eastman, 71. Social critic Hutchins Hapgood (whose favorite term was “the real thing”) as one scholar has noted, “was more determined to open minds than enact public policy.” Robert Dowling, “Hutchins Hapgood,” Dictionary of Literary Biography, Vol. 303, 193–95. 74. Lowell, Tendencies, 158, 175. 75. Braithwaite, “The Fine Art of An American Poet,” BET, 28 October 1916. 76. Monroe, “The Poetry of War,” (September 1914), 237. 77. Monroe, “The Poetry of War,” (September 1914), 238–39. 78. Monroe, “Poetry and War,” Poetry (November 1914), 83. 79. Monroe, “Various Views,” Poetry (June 1916), 144. 80. Monroe, “New Banners,” Poetry (August 1916), 251–53. 81. For an analysis of war poetry, particularly verse composed by members of the IWW and Woman’s Peace Party, and its effect on public opinion, see Van Wienan, Partisans and Poets. 82. For more on the use of coercion and propaganda in the buildup to the U.S. entry in the war, see Christopher Capozzola, “Uncle Sam Wants You!” World War I and the Making of the Modern American Citizen (New York: Oxford University Press, 2008). Notes to Pages 204–207 265

83. Johnson, Viereck, 23. The Fatherland changed names over the course of the war to Viereck’s then, after America’s entry into the war, to The American Monthly. The content likewise changed to indicate the weekly magazine’s support to American soldiers and efforts. 84. Neil Johnson, George Sylvester Viereck: German- American Propagandist (Urbana: University of Illinois Press, 1959): 36–42. For more on German espionage activities in America during the Great War, see Jules Witcover, Sabotage at Black Tom: Imperial Germany’s Secret War in America, 1914– 1917 (New York: Algonquin Books, 1989). 85. Neil Johnson’s biography of Viereck and Phyllis Keller’s States of Belonging provide a full account of his activities as a propagandist. Keller’s book rely on Freudian psychology to examine Viereck’s influences and moti- vations, and do not discuss his literary endeavors. 86. “Members of Embassy and Prominent Germans Named in Striking Campaign to Win over American Thought,” Washington Post, 15 August 1915, 2–3; “Viereck Got $100,000 from the Germans,” The New York Times (26 July 1918), 1. 87. Originally published in The Nautilus, “Outwitted” was reprinted in CO, October 1914, 353. In Markham’s first book of poetry after the war ended Gates of Paradise and Other Poems (Doubleday, Page & Co., 1920), he evinced his anti- war stance: “I am a man of peace: War, in general, is one of the huge madnesses of men, and it can be cured only by the divine forces of love and justice.” 88. Keller, States, 103. 89. Letter dated 19 December 1916, EGLC. 90. In the decades preceding World War I, German- Americans were in the vanguard, promoting progressive social legislation and new ideas in philosophy and literature. They constructed a national network of newspapers and cultural societies as a forum to discuss such currents. In 1914 there were over eight million German-Americans in the United States. Over two million belonged to the German- American Alliance, which was formed in 1901 to help newly arrived immigrants assimilate into America. When the United States entered the conflict in May 1917, such an insubmissive posture became increasingly difficult to maintain. The German-American press was demolished and German- language instruction was slashed. For more information, see Erik Kirschbaum, The Eradication of German Culture in the United States, 1917–1918 (Stuttgart: Verlag Hans- Dieter Heinz Akademischer Verlag, 1986) and Charles Johnson, Culture at Twilight: The National German- American Alliance, 1901–1918 (New York: Peter Lang, 1999). 91. Viereck published Songs of Armageddon and Other Poems with Mitchell Kennerley in 1916. The collection included paeans to “Wilhelm II, Prince of Peace,” “The Iron Chancellor,” and “Deutschland, Deutschland, Land of All Lands.” 92. Braithwaite, “War Poems and Otherwise,” The Poetry Journal (May 1916), 197–99. It helped, of course, that Viereck’s friends, Blanche Shoemaker Wagstaff and Edmund Brown, served on the editorial board. Because Braithwaite had overextended himself, writing bi- weekly reviews for the 266 Notes to Pages 207–211

BET and compiling an annual anthology, the enterprise folded after only five issues. 93. Quoted in “Recent Poetry,” CO, December 1918, 397. Monroe applauded Aiken’s refusal to enlist in the military under this Class II exemption. Under the Work- or- Fight Law, Aiken argued, poetry could not be classi- fied as a nonproductive vocation along with billiard- making or specu- lation on theater tickets. With the help of his publisher, the Four Seas Company, Aiken presented formal evidence to the draft board that, even though he did not have regular hours of employment or an annual salary, he nevertheless was engaged in regular occupation as a writer. See E. R. Brown to Aiken, 29 July 1918, CAVA. 94. See Van Wienen, Partisans and Poets. 95. For a discussion of The Masses trial and useful bibliography, see Elliott Parker, “The Government’s War against Dissent: The Masses and the First Amendment,” AEJMC Conference Papers, 94 (August 1996). 96. Letters of Robert Frost, 55. 97. Untermeyer, From Another World, 201, 189–90. The two had become friends after Mencken wrote a letter, rife with his usual barbed wit, disapproving of Untermeyer’s first book of poems. A writer and book reviewer at the Baltimore Sun as well as co-editor of Smart Set, Mencken in 1911 had begun scouting out poetic talent. His own debut came with the publication of Ventures into Verse, a collection of ballads, rondeaux, quatrains, and odes. It was Mencken who introduced Untermeyer to the work of lyric poet Sara Teasdale. “Some of her lyrics come very near It,” Mencken wrote. 98. Oppenheim to Seward Collins, editor of The Bookman, 13 January 1930, Box 1, Folder 1, JONY. 99. Oppenheim to Arthur Spingarn, 11 December 1916, Box 2, Folder 1, JONY. 100. Annette Rankin to Oppenheim, 22 August 1917, Box 2, Folder 1, JONY. 101. Lowell to Oppenheim, 17 September and 20 September 1917, Box 1, Folder 4, JONY. 102. Viereck reported this figure in a letter to Edmund Wheeler, dated 21 May 1918. Reprinted in Viereck’s American Weekly, July 1918, 1. 103. “Citizens Want Viereck Ousted,” Washington Post (11 August 1918), 2; “NYAC Expels Viereck,” The New York Times (16 August 1918), 12. Viereck’s wife Margaret fainted after being stripped twice by British naval and military authorities, then left alone naked for several hours while en route to Berlin in 1916. “British Disrobed Her,” Washington Post, 1 March 1916, 2. 104. Hagedorn, “Portrait of a Rat,” New York Evening Sun (22 November 1917). Despite his denunciation of German belligerence, Hagedorn, who had never been able to support himself financially, continued to receive $25,000 annually from his father in Berlin. Keller, States, 231. 105. Gould, Amy, 136. 106. Some Imagist Poets: An Anthology. Eds. Lowell, et al. (New York: Houghton Mifflin, 1916), 77–81. Notes to Pages 211–215 267

107. Gould, Amy, 261, 268, 270. 108. Sir Edgar Speyer had to leave England for refusing to take the govern- ment’s loyalty oath. He had helped to finance the Scott Antarctic expe- dition and contributed financially to Lord Asquith’s premiership and did not believe he needed to demonstrate loyalty with an oath. OHCU, 118. 109. Lowell to Fletcher, 16 July 1917, Box 9, ALHH. 110. Lowell to Aldington, 7 December 1917, Box 1, ALHH. 111. Lowell to Hagedorn, 21 April 1917, Box 10, ALHH. 112. Lowell never published these poems in book form because, by the time they were ready for press in 1919, she feared the jingoism would cause her embarrassment. At the time, however, she regarded them fondly. In a letter to Sara Teasdale, Lowell wrote, “I regard these poems . . . as the best part of my ‘bit’ for my country.” Damon, Amy Lowell, 719. 113. “Poetry Society May Drop Viereck,” Washington Post, 28 June 1918, 9. 114. Viereck reprinted the exchange of articles in his magazine, renamed again Viereck’s American Weekly on 10 July 1918. 115. Viereck to Wheeler, 21 May 1918, quoted in Viereck’s American Weekly, July 1918. Letter dated 3 June 1918, Viereck’s American Weekly, July 1918. 116. Wheeler to Viereck, 7 June 1918, quoted in Viereck’s American Weekly, July 1918. 117. Quoted in Hamilton’s unpublished biography of Markham, 288–89, FHLC. 118. “May Drop Viereck,” 9. 119. “May Drop Viereck,” 9. 120. Viereck to Wheeler, 19 June 1918, in Viereck’s American Weekly, July 1918. 121. “Viereck Expelled By Authors’ League,” The New York Times, 26 July 1918, 20. 122. Lowell to Wheeler, 15 July 1918, ALHH. 123. Lowell to Wheeler, 23 July 1918, ALHH. 124. Believing that Braithwaite would be sympathetic despite his support of the Allied war effort, O’Sheel wrote, asking for help: “I suppose that your sentiments with regard to the War are all that mine are not, but you cannot approve of my economic assassination because of my politi- cal ideas . . . I am powerless to obtain justice. My family has had to resort to the charity of my wife’s Mother, and I have money enough to keep starvation away for just one month. Can you suggest anything to me in the publishing way?” O’Sheel to Braithwaite, 4 June 1916, Box 14, WBHH. 125. When Rittenhouse failed to respond, O’Sheel circulated this letter to PSA members. O’Sheel to Rittenhouse, 31 October 1918, Box 14, ALHH. 126. Untermeyer and his wife Jean questioned Lowell’s tactics in private. At dinner one evening, Untermeyer joked about her poem “The Cornucopia of Red and Green Comfits” published in the November 1917 issue of 268 Notes to Pages 215–218

the Independent, which repeated claims that German aviators delivered sweets laced with poison to the famished children in Bar- le-Duc. Jean remarked, “You and the magazine weren’t exactly upholding the Court of Reason, Amy,” to which Lowell hysterically responded: “You don’t know what you’re talking about . . . Times are changing—we’re all of us in danger.” Quoted in Gould, Amy, 269–70. 127. After O’Sheel left, he was suspended from the Society. 128. Viereck to Elmer Gertz, 25 April 1935. EGLC. 129. Viereck to Bynner, 1918, BYHH. Letters from the Witter Bynner Papers, bMS AM 1891, are reprinted by permission of the Houghton Library, Harvard University, and The Witter Bynner Foundation for Poetry, Santa Fe, New Mexico. The acquaintance between Viereck and Bynner began when they exchanged books in 1907. Viereck had written in a painfully frank manner to Bynner: “I have never realized why some people object to my free form until I found something like it in your book.” Their friendship prevailed over differences in literary opinion. Viereck to Bynner, 7 August 1907, BYHH. 130. Lowell to Rittenhouse, 25 November 1919, ALHH. 131. Rittenhouse to Lowell, 8 December 1919, ALHH. 132. O’Sheel to Rittenhouse, 31 October 1918, SSVA. 133. Harriet Monroe, “The Viereck Incident,” Poetry: A Magazine of Verse, 13 (February 1919) 5, 265–67. 134. Isaac Goldberg, “Viereck Redivivus,” Stratford Monthly, Autumn 1924, 183–86.

Epilogue

1. Ezra Pound, Poems, 1918–1921 (New York: Boni and Liveright, 1921), 62. 2. Christopher A. Thomas, The Lincoln Memorial and American Life (Princeton: Princeton University Press, 2002), xxvii–xxviii, 156–57; Adam Fairclough, “Civil Rights and the Lincoln Memorial: The Censored Speeches of Robert R. Moton (1922); and John Lewis (1963), Journal of Negro History, 82 (Autumn 1997) 4, 408–16, “Harding Dedicates Lincoln Memorial, Blue and Gray Join,” The New York Times (31 May 1922), 1–2, Scott Sandage, “A Marble House Divided: The Lincoln Memorial, the Civil Rights Movement, and the Politics of Memory,” Journal of American History, 80 (June 1993) 1, [136–67]. 3. Markham continued to compose poems for civic occasions, including the Boston Tercentenary in 1930, where he recited his work before an audience of 10,000. See Jane Holtz Kay, Lost Boston (Amherst: University of Massachusetts Press, 2006 [Houghton Mifflin, 1980]), 285. 4. Harriot Monroe, “The Great Renewal,” Poetry, 324. 5. Lowell to Seldes, 1 November 1922, Box 18, ALHH. 6. Lowell to Richard Aldington, 4 April 1923, Box 23, ALHH. 7. Lowell to Archibald MacLeish, 14 March 1925, Box 14, ALHH. 8. Golding, From Outlaw to Classic, 7–18. Notes to Pages 219–221 269

9. William Carlos Williams, “Supplement,” Others: A Magazine of the New Verse, 5 (July 1919) 5: 25–32. 10. Widdemer added that this attitude had solidified by the 1940s when “The reading public, cowed by now, bowed its head and—in majority— stopped reading it while meekly admiring.” Widdemer, Friends, 43. 11. Wendy Steiner, Venus In Exile: The Rejection of Beauty in Twentieth Century Art (New York: The Free Press, 2001), xv. Also see Arthur Danto, The Abuse of Beauty (New York: Open Court, 2003) and Uncontrollable Beauty: Toward A New Aesthetics. Ed. Bill Beckley (New York: Allworth Press, 2001). 12. The Guild issued annual anthologies that retailed for one nickel. Anna Hempstead Branch, Smith Alumnae Quarterly (November 1920) 57–59. Widdemer, Friends, 208–11. 13. FHLC, 387. 14. Parisi, Dear Editor, 12, 187. 15. The announcement appeared in the October 1948 issue of Poetry, 31. 16. George Sylvester Viereck, “Hitler, The German Explosive,” The American Monthly (October 1923), 235–38. 17. Gertz, Odyssey, 272–75. 18. Widdemer, Golden Friends, 52–53. 19. Untermeyer wrote the introduction to each of the volumes. It proved to be the largest publishing venture undertaken during the war, with approximately 122 million Editions for the Armed Services were dis- tributed to soldiers over the course of four years. Untermeyer, Bygones, 147–54. John Hench examines the U.S. government’s publishing initia- tives during and after World War II in Books As Weapons: Propaganda, Publishing, and the Battle for Global Markets in the Era of World War II (Ithaca: Cornell University Press, 1910). 20. Lowell to Jeanette Marks, 24 January 1918, Box 14, ALHH. 21. Margaret Homans investigates Lowell’s affinity for Keats as it influenced her sexuality and identity in “Amy Lowell’s Keats: Reading Straight, Writing Lesbian,” Yale Journal of Criticism 14 (2001) 2: 319–51. 22. “Keats + G525,” Time (2 March 1925). 23. Aiken to Untermeyer, 28 May 1925, LUUD. 24. Darkwater: Voices from Within the Veil (NY Harcourt, Brace and Howe, 1920), 247. 25. Braithwaite, “The Negro in Literature,” The New Negro: An Interpretation. Ed. Alain Locke (A. and C. Boni, 1925), 208. Braithwaite wrote to Nella Larson about a project anthology of black poetry: “This work will stun the country into a recognition and acceptance of the spiritual and cul- tural equality of the Race . . . [it] will do more than all the politics and propaganda that has been in action for a generation towards the solu- tion of the so-called ‘problem.’ There is no problem where the spirit is concerned, where Beauty burns away all barriers.” Overwhelmed by the bankruptcy of B. J. Brimmer in 1928 Braithwaite never finished this anthology and the “Braithwaites” ended for similar reasons with the 1929 edition. Butcher, BR, 279–80, 284, Braithwaite to Miss Robinson, 3 January 1930. See Locke’s letter to Charlotte Mason, Box 69, Folder 1, ALHU. 270 Notes to Pages 222–223

26. James Rorty, “The Conquerer,” Poetry, 14 (September 1919 ) 6, 306–7, James Rorty, “California Dissonance,” in Braithwaite, Anthology of Magazine Verse for 1921 (Boston: Small, Maynard & Co., 1921), 136–38, and James Rorty, “The Bell Ringers,” “End of Farce,” Poetry Society of America Anthology (New York: Poetry Society of America, 1969 [1946]), 185–86. James Rorty included a chapter “Beauty and the Ad- Man” about the exploitation of beauty in the advertising industry in Our Master’s Voice–Advertising (New York: John Day, 1934). 27. Richard Rorty, “Trotsky and Wild Orchids,” in Wild Orchids and Trotsky: Messages from American Universities (New York: Penguin Books, 1993), 35–36 [31–50]. Also see Rorty, Contingency, Irony and Solidarity. Index

Abbott, Leonard, 52, 97, 206 and Braithwaite, 130, 140–43, 145, Abendpost (Chicago German daily), 54 148–60 Abercrombie, Lascelles, 145 purpose of, 129 Adams, Henry, 56 and Rittenhouse, 132 Addams, Jane, 40, 44, 47 The Anthology of Magazine Verse for Adventures while Preaching the Gospel of 1913, 141 Beauty (Lindsay), 3–4 Anthony, Susan B., 132 African Americans, 8–10, 15, 17, 42, Apollinaire, Guillaume, 40 51, 71, 120, 129–31, 134–39, Aristotle, 4, 9 148, 150, 153–55, 157–58, 214, Armory Show Exhibit, 85–86 217, 233n60, 243n55, 248n18, Arnold, Matthew, 8, 17, 21–23, 27, 249n26,28 32–33, 35, 55, 90, 136, 140–42, female poets, 131 151, 184–85, 200 and hypermasculinity, 129–31 Arts and Crafts movement, 165 reading practices of, 8–10 The Atlantic Monthly, 1, 23–25, 30–31, and Whitman, 51 33, 36–37, 39–43, 53, 55, 61, 65, Aiken, Conrad, 47, 129, 151–53, 201, 111, 155–56, 163 207, 210, 215–16, 221, 247n142 audience, 1, 6–7, 10–11, 13–14, 18–19, Alden, Raymond, 123 29, 33–34, 37–38, 62–64, 66, 69, Aldington, Richard, 124, 168, 174, 179, 72–73, 81, 86, 91, 93, 102–03, 185, 211, 218, 257n42, 260n84 106–14, 122–29, 142, 147, 153–54, Aldrich, Thomas Bailey (1836–1907), 163, 177, 180–81, 184, 201, 24–25, 29–30, 33–34, 75, 104, 138, 216–17, 221, 241n21, 243n55, 140 244n69, 255n6, 268n3 Alighieri, Dante, 102, 116, 137 Austen, Jane, 44 Altgeld, John Peter, 4, 45 Author’s Club, 25 American Academy of Arts and Letters, avant-garde poets, 14, 17, 46, 128, 146, 36 207 An American Anthology (Stedman), 42 American Magazine, 3–4, 23, 40, 42–43 Baker, Gladys, 195 American poetry “renaissance” Baker, Ray Stannard, 42–43 (1910–1920), 1–19 Barker, Elsa, 92 and audience, See audience Barney, Natalie, 172 and morality, See morality Baudelaire, Charles, 12, 87, 97, 169, and the New Critics, See New Critics 228n42, 235n101 poetry as ignored, 1–3, 11, 14–15 Bebel, August, 87 reception of, 6–7, 10–11, 13–19, Bellamy, Edward, 73 24–25 Benét, William Rose, 54–55, 118, 185, and race, See racism 190 roots of, 12–13 Bennett, Gwendolyn, 131 and women, See gender Bennett, Paula, 11 See also the “Gospel of Beauty” Bergson, Henri, 51, 104, 167–169, 175 Anderson, Margaret, 175 Berman, Marshall, 12 anthologies, 2, 6, 10, 15, 17–18, 25–26, Bible, 79, 110 42, 50, 63, 74, 81, 86, 106, 110, Bierce, Ambrose, 64–65, 72–73 123, 129–30, 132, 140–43, 145, Bishop, John Peale, 180–81 148–60, 167–69, 171, 178–79, blacklisting, 204–16 184–85, 189, 197, 199–201, 216, Bollingen Prize controversy (1949), 220–22, 235n89 223

271 272 Index

“The Bombardment” (1914) (Lowell), capitalism, 3, 6, 15, 21–22, 25, 28–29, 180 45, 51, 60–61, 71, 73, 143, 192, The Bookman, 54 203, 234n81 Boston Authors Club, 138, 142 Carleton, Will, 63 Boston Evening Transcript, 2, 43, 88, Carlyle, Thomas, 8, 78, 82 103, 113, 140, 144, 148–50, Carman, Bliss, 134 155, 159–60, 179, 184, 250n44, Carnegie, Andrew, 3 254n132, 263n44 Cather, Willa, 124 The Boston Globe, 1, 135 Cawein, Madison, 64, 99, 161 Bourne, Randolph, 122, 187, 198, 207, Centennial Exposition in Philadelphia 209 (1876), 40 A Boy’s Will (Frost), 2, 148 The Century Dictionary, 121 Bradley, William Aspenwall, 91–92 The Century Magazine, 1, 23–25, 28, Braque, Georges, 12 31, 33–34, 36–40, 42–43, 53–56, Braithwaite, William Stanley, 2, 9–10, 61, 65, 68, 89–90, 163, 166, 190, 17–18, 42–43, 53–54, 101, 103, 192–93, 200 113, 127–30, 134–60, 173, 175, See also Scribner’s 178, 185, 189, 196–97, 202, 207, Cézanne, Paul, 169 211, 218, 221–22 Challenge (1914) (Untermeyer), 196–97 and anthologies, 141–43, 148–60 Chatfi eld-Taylor, H. C., 112–13, 121 biography of, 134–35 Chaucer, Geoffrey, 9 and Frost, 156–57 Chesnutt, Charles, 135 The House of Falling Leaves, 140 Chicago American, 39 and Keats, 127–28 Chicago Evening Post, 2, 100, 117, 190, and Lowell, 155–56 193 Lyrics of Life and Love, 139–40 Chicago Poems (Sandburg), 120–21, and Monroe, 157–58, 160 176, 182, 198 and Oppenheim, 196 Chicago Tribune, 39, 112 photograph of, 139 The Children of the Night (1897) on poetry, 141–42 (Robinson), 52, 55–56 The Poetry Review, 151 Christianity, 4, 10, 50, 60, 66, 74, and Pound, 157 79–80, 125, 132, 137, 192 rejections of work of, 42–43 Christianity and the Social Crisis (1907) and Sandburg, 158–59 (Rauschenbusch), 4 as typesetter, 127 “Chromo-Civilization” (Godkin), 22 Brawley, Benjamin, 136–37 City Beautiful Movement, 16 Brooks, Van Wyck, 15, 35, 96, 161, 208 Civil War, 21, 23, 33, 138, 217, Brownell, William, 104 260n89 Browning, Robert, 10, 51, 55, 80, 102, class, 28–30, 62–63, 96–97 129, 144, 146 See also middle class Bryan, William Jennings, 56, 67, 73, Cleveland, Grover, 25, 65, 74 132, 135 Coblentz, Stanton, 184, 261n117 Bryant, William Cullen, 51, 59, 118 Coleridge, Samuel Taylor, 28, 100, 142 Burns, Robert, 69, 111–12, 123, 128 “Columbian Ode” (Monroe), 111 Burton, Richard, 42 The Confessions of a Barbarian (Viereck), Bushnell, Horace, 5 95 Bynner, Witter, 47, 96, 98, 104, 106, The Congo and Other Poems (Lindsay), 109, 124, 196, 199, 215, 220, 153–54, 180 268n129 Copeland, Charles Townsend, 124 Cotkin, George, 13 California Magazine, 66 Cowley, Malcolm, 185 Can Grande’s Castle (1917) (Lowell), Crane, Hart, 202 178 Crane, Stephen, 33, 108 The Candle and the Flame (1912) Crisis monthly magazine, 10 (Viereck), 147 Culture and Anarchy (1869) (Arnold), 22 Cannell, Skipwith, 125 cummings, e. e., 125, 184 Index 273

Current Literature, 2, 86, 93, 96–98, 102, Epigrams from the Greek Anthology 108–09, 212 (1913) (Mackail), 123 Current Opinion, 99, 101, 108–09, 204 Espionage Act (1917), 207–08 Evans, Donald, 174 Daly, Thomas, 144, 146 Darnton, Robert, 7 Farm Ballads (Carleton), 63 Darrow, Clarence, 113 The Fatherland newspaper (Viereck), Darwin, Charles, 14, 23, 44, 103 204, 210 Debs, Eugene V., 135 Fauvism, 12 Defence of Poetry (1819) (Shelley), 5 Ficke, Arthur Davison, 70–71, 96, 100, Dell, Floyd, 44, 96–97, 105, 117, 192, 114, 122, 167, 246n129 208, 241n21, 242n30 “Fireside Poets,” 51 democracy, 3–4, 6, 8–10, 15, 17, 22–23, First Love: A Lyric Sequence 28–29, 44, 49–52, 73, 80–81, 87, (Untermeyer), 190 98, 100, 104, 110–12, 120–21, 1st South Carolina Volunteers (Union), 124, 133, 135–36, 146, 151, 179, 138 188, 196, 200–01, 208, 211, 216, Fitzgerald, Alexander, 76 223 Fletcher, John Gould, 157, 169, 179, Des Imagistes (1914) (Pound), 168–69, 186, 201–02 178 Flint, F. S., 179 Dewey, John, 124, 192, 241n21 Flower, Roswell, 28 The Dial, 42, 50, 120, 123, 138, 140, Fornaro, Carlo de, 110–11 150, 184, 218, 246n123 Fors Clavigera: Letters to the Workman Dickens, Charles, 44 and Labourers of The Golden Dickinson, Emily, 81, 138, 249n33 Treasury (1861), 129 dissent, 204–16 Fort, Paul, 177 Dodd, Lee Wilson, 30 Fortnightly Review, 40 Dodge, Mabel, 8, 85–86, 96, 173, The Forum, 102 241n21 Frank, Waldo, 97, 188 Dole, Nathan Haskell, 45, 128, 155 Franklin, Ben, 78, 124 A Dome of Many-Coloured Glass Freeman, Joseph, 13 (Lowell), 155, 166–67, 256n23,25 French Impressionism, 167–70 Doolittle, Hilda (H. D.), 116, 162, French Symbolists, 167–69 166–68, 172, 179, 183, 185 Freud, Sigmund, 86, 97, 169, 194, Dostoevski, Fydor, 170 265n85 Dreiser, Theodore, 33, 65, 123 From Sappho: One Hundred Lyrics (1903) Du Bois, W. E. B., 9–10, 47, 127, 130, (Carman), 134 136, 154, 221, 233n60, 249n34 Frost, Robert, 1–2, 37, 47, 108, 116, Dubedat, Louis, 46 128–29, 145, 147–48, 151, 156–57, Dunbar, Paul Lawrence, 42 180–81, 196–97, 199–201, 208–09 Duncan, Isadora, 40 and University of Michigan, 199 Duse, Eleanor, 40 Fuller, Loie, 40 Fuller, Margaret, 5 Earle, Ferdinand, 144 Eastman, Max, 18–19, 47, 97, 187–88, A Game At Love and Other Plays 191–94, 202, 230n59 (Viereck), 88–89 Edgett, Edwin, 160 Garrett, C. H., 79 Eliot, Charles, 24 Gauguin, Paul, 169 Eliot, George, 44 gender, 7–8, 11, 17, 26, 30–31, 36, 62, Eliot, T. S., 1, 47, 116, 120, 125, 152, 127–36, 163–65, 173, 186, 199, 163, 183 227n31, 248n10 Emerson, Ralph Waldo, 5–6, 23, 48, 51, “The Genteel Tradition” (Santayana), 78, 81–82, 98, 138, 192 12 empathy, 3, 11, 46, 84, 146, 194, 219 German Social Democratic Party, 87 Engels, Friedrich, 87 Gilded Age, 25, 62 Enjoyment of Poetry (Eastman), 193 The Gilded Age (1873), 66 274 Index

Gilder, Richard Watson (1844–1909), Howe, Julia Ward, 138 24–25, 28–30, 33–34, 36, 39, 43, Howe, Samuel Gridley, 138 55–56, 89–91, 104, 124, 174, 192, Howells, William Dean, 33, 42, 123, 233n51 140, 232n36 Ginn and Company, 127 Hueffer, Ford Madox, 179, 247n142 Glasglow, Ellen, 33 Hugo, Victor, 60 Godkin, E. L., 22 Hulme, T. E., 128, 167 Gold, Mike, 194 Huneker, James, 88 Goldman, Emma, 207 Huntington, Collis P., 75 Gomme, Lawrence, 149 Hurd, Charles E., 140 Gorky, Maxim, 84 “the Gospel of Beauty,” 3–4, 14, 122, The Idiot (1868) (Dostoievski), 5 129, 160, 163, 222–24 idealism, 12–13, 15, 21, 32, 46–47, 54, “The Gospel of Wealth,” 3 92, 120, 123, 136–37, 143, 149, Great Britain, 1, 8, 22, 25, 44, 61, 90, 182, 192, 201–02, 209, 212 102, 104, 106, 164, 167, 174, 189, imagination, 3, 5–6, 11, 14, 19, 26, 35, 204–05, 210, 245n97, 47–48, 50, 56, 82–83, 101, 119, 266n103 124, 137, 146, 157, 164–65, 167, Great Britain, 1871–1878 (Ruskin), 61 182, 187, 202–03, 208–09, 231n5 Great Depression, 222 Imagism, 18, 107, 117–18, 124, 126, Greenwich Village, 14, 85–86, 92–93, 166–71, 175, 179–80, 183, 193–94 96–97, 173–74, 191 immigrants, 3, 15, 29–30, 49, 56, 60, Griswold, Rufus, 26, 50 75, 143–44, 158, 191, 196, 219–20, Guiney, Louise Imogen, 133, 248n16 265n90 Guiterman, Arthur, 105 Impressionism, 167–70 individualism, 5, 18–19, 46, 51, Haiku, 18 187–216 Hall, David, 47 industrialization, 3, 5, 10–12, 14, 22, Hampton’s Magazine, 39–40 29, 34, 40, 46, 50, 74, 85, 126, 171, Hapgood, Hutchins, 96, 264n73 201, 208, 218–19 Hardy, Thomas, 90, 172 Ingersoll, Robert, 44 Harlem Renaissance, 130, 221 instrumentalism, 14 Harper’s Weekly, 1, 24, 34, 37–38, 43, International Copyright Law, 25 53, 70, 98, 148, 155, 235n101 An Introduction to the Study of American Harris, Thomas Lake, 60 Literature (Matthews), 32 Harrison, Hubert, 136 Harte, Walter, 61 James, William, 48, 71 Harvey, Alexander, 98, 242n33 Japanese tanka, 18 Havel, Hippolyte, 187, 222 Jefferson, Thomas, 78 Haymarket affair (1886), 4, 45 Jewett, Sarah Orne, 172 Hearst, William Randolph, 38–39, 67, Jim Crow, 8, 32, 51, 129–30, 135 69, 73, 87, 220 Johns, Orrick, 46, 48, 144 Heine, Heinrich, 28, 189, 260n95 Johnson, Helene, 131 Henderson, Alice Corbin, 52, 119–21, Johnson, James Weldon, 137, 222, 123, 129, 153, 157–60, 203, 218, 249n28 220, 230n57, 246n127, 254n129 Johnson, Lionel, 173 Higginson, Thomas Wentworth, 138, Johnson, Robert Underwood, 36–38, 140 43, 65 Hitler, Adolf, 220 Johnson, Tom, 74, 249n33 Hochman, Barbara, 51 Holland, Josiah, 24 Keats, John, 5, 9–10, 26–28, 31, 62, 81, Holmes, Oliver Wendell, 23, 30, 51, 55 93, 99, 127–29, 137, 152, 163, 166, Hope, John, 9 191, 202, 221, 230n59, 261n117, Houghton Miffl in, 170, 179 269n21 Hovey, Richard, 133 Keller, Helen, 195 How The Other Half Lives, 15 Kennerley, Mitchell, 111, 145, 265n91 Index 275

Kilmer, Joyce, 144, 184, 214 appearance of, 164–65 Kipling, Rudyard, 40, 42, 55, 63, 71, biography, 164–66 98–99 and “The Bombardment,” 180 Kline, Burton, 43 and British Romantics, 164 Knowles, Frederic Lawrence, 133, 140, Can Grande’s Castle, 178 235n89 A Dome of Many-Coloured Glass, 155, Kreymborg, Alfred, 124–25 166, 256n23,25 Ku Klux Klan, 130 and Eliot, 183 and Fletcher, 169–70 Labour party, 7 homosexuality of, 162–63, 171–4, labor poems, 62–67 258n48 “Lamia” (Keats), 26–27 as Imagism, 161–62, 166 Lauriat, Jr., Charles, 149 and Masters, 181–83 Lawrence, Abbott, 164 and Monroe, 179–80 Lawrence, D. H., 179 and “novel” subjects, 41–42 Le Gallienne, Richard, 99, 114, 124, “Patterns,” 211 240n79 Pictures of the Floating World, 221 Lears, Jackson, 45 and Poetry, 161, 166 Leaves of Grass (Whitman), 33, 49–50, and Pound, 171, 179–80, 183 64, 192–94 and Sandburg, 181–83 Ledoux, Louis, 143, 146, 149–50, 155, Some Imagist Poets, 175, 179, 259n82 252n83, 254n132 stereotypes about, 162–63 LeMoyne, Sarah Cowell, 39 Sword Blades and Poppy Seed, 175–78 Lengel, William, 92–93 and Tendencies in Modern Poetry, 181, Leonard, William Ellery, 114 183–84 Library of America (Stedman), 42 and “vividness,” 175–76 Liebknecht, Wilhelm, 87 and World War I, 210–13 Lincoln, Abraham, 4, 44, 48, 65–66, 78, Lowell, Abbott, 206 120, 124, 194, 217 Lowell, Francis Cabot, 164 Lincoln, Robert Todd, 217 Lowell, James Russell, 23, 26, 30, 51 Lindsay, Vachel, 3–4, 14, 99, 105, 109–10, Lusitania, sinking of (1915), 204, 206 120–22, 143, 150, 153–55, 161, 177, “Lyric Year,” 2, 144–45 180, 183, 219, 253n102,103 The Lyric Year Anthology, 145 Lippincott’s, 24, 43 Lyrical Ballads, with a Few Other Poems Lippmann, Walter, 96, 241n21, (1802) (Wordsworth), 26, 82 261n105 Lyrics of Life and Love (Braithwaite), The Literary Era (Garret), 79 139–40 Literary World, 50 Locke, John, 46 Mabie, Hamilton, 72, 101 Lodge, Henry Cabot, 28 Mackail, J. W., 123 London, Jack, 34, 44 MacKaye, Percy, 103, 143, 150, 196, Longfellow, Henry Wadsworth, 10, 30, 199, 243n55 33, 51, 55, 63–64, 81, 238n20 Macy, John, 52 Looking Backward (Bellamy), 73 “The Man with the Hoe” (Markham), Lowe, John Adams, 185 57–59, 67–78, 81, 89, 146 Lowes, John Livingston, 184–85 The Man with the Hoe, With Notes by “The Love Song of J. Alfred Prufrock” The Author (Markham), 78 (Eliot), 125 The Man Who Laughs (Hugo), 60 “Love Songs” (Teasdale), 144 Markham, Catherine, 104, 107, Lowell, Amy, 1–2, 8, 10, 18, 41–42, 52, 244n70 107–09, 119, 126, 129, 143, 149, Markham, Edwin, 15, 44–45, 57–62, 151, 155–56, 158, 161–71, 173–86, 66–84, 97–98, 101–05, 107, 189, 202, 208–13, 215, 218, 109–10, 111, 123–24, 126, 129, 221, 252n95, 254n132, 255n5, 137, 144, 146, 148, 150, 175, 178, 256n10,21,23–25, 257n41,43, 190, 197–98, 202, 205–06, 213, 258n48, 259n82 215, 217, 219–20, 237n2, 238n27, 276 Index

Markham, Edwin—Continued roots of U.S. literary, 12–13 239n46,54, 240n70, 245n97, See also Imagism 265n87, 267n117, 268n3 Moody, William Vaughan, 36–37, 47 and children, 84 Moore, Marianne, 183 and Christianity, 79–80 Moore, Thomas, 59 and cowboy aesthetic, 59 Monroe, Harriet, 2, 8, 16–17, 38–41, early years of, 59 45, 52, 86–87, 101, 104, 109, education of, 60 111–26, 129, 145, 152–55, 157–58, “Lincoln, Man of the People,” 217 160, 162, 166, 168, 171, 179, 183, and pessimism, 75–79 189, 197, 202–03, 216, 218, 220 photograph of, 58 and Bynner, 124 and the poet’s role, 61–62 cartoon of, 118 and religious awe, 77 “Columbian Ode,” 111 and Shelley, 60 and Lindsay, 121–22 The Shoes of Happiness and Other and Masters, 122–23 Poems, 123 and modern subjects, 40, 45 on Viereck, 205–06 and “New Beauty,” 114–15, 117, See also “The Man with the Hoe” 119 Marks, Josephine Peabody, 147 “Poet Laureate” of World Marsh, Edward, 153 Exposition, 39 Marx, Karl, 60, 87, 97, 189, 192 and Poetry magazine, 114–26 masculinity, 11, 15, 30–32, 69, 128–34, on realism, 119–20 149, 164, 174, 182, 240n69, and Sandburg, 120–21 248n10 youthful success of, 38–40 Masefi eld, John, 99–100, 106 morality, 3–5, 7, 10–11, 15–16, 21–24, The Masses (magazine) (1911–1917), 27, 36, 45, 47–48, 55–56, 58–60, 2, 18, 187, 191–94, 197, 202, 204, 65–68, 71, 73, 83, 86, 92, 96, 100, 207–08, 266n95 103, 115, 120, 124, 137, 142, 147, Masters, Edgar Lee, 36, 107, 109, 159, 165, 169–70, 175, 183, 187, 120, 122–24, 147, 153, 180–83, 192, 194–95, 200, 218, 222–23, 246n133, 253n102, 260n99 230n59 Matthews, Brander, 32, 104, 140 More, Brooke, 149 May, Henry, 12 Morris, William, 23, 62, 97, 170 McClure’s, 34, 42–43, 98, 124, 240n70 Moulton, Louise, 104, 138, 142 McKay, Claude, 9 Muir, John, 28 Mencken, H. L., 16, 45, 88, 128, 149, Munsey’s Magazine, 34 157, 208 Münsterberg, Hugo, 206 The Metropolis (Sinclair), 95 Murphy, Anna Catherine, 61–62 middle class, 23, 28, 30, 48, 51–52, 74, The Mystic Warrior (Oppenheim), 194 79, 86, 93, 96, 130, 134, 191, 202, 208, 225n9, 227n31 The Nation, 32, 88, 256n21 Mill, John Stewart, 46 National Arts Association, 102 Millay, Edna St. Vincent, 144–45 National Arts Club, 102 Miller, Joaquin, 81 National Association for the Miller, Kelly, 51 Advancement of Colored People Miller, Nina, 131 (NAACP), 9, 207–08, 249n34 Millet, Jean Francois, 57–58, 67, 69, 76, National Institute of Arts and Letters, 78, 239n52 35–36 Milton, John, 9 The National Magazine, 42 Mirror (Reedy), 38 National Poetry Week, 17 Modern Painters (Ruskin), 10 nationalism, 204–16 Modernism (20th century), 6, 11–14, The Nature and Elements of Poetry (1892) 16–19, 21, 29, 45–47, 116, 118, (Stedman), 25, 82 125, 128–30, 133, 149, 151, 153, Nehamas, Alexander, 11 163, 188, 217–19, 223, 232n46, Neihardt, John, 117 234n81, 240n69, 247n8 Nelson, Cary, 11 Index 277

“The New Criticism” (lectures) poetic communities, 2–3, 56, 60–61, (Spingarn), 142 84, 104, 115, 174 New Critics, 11–12, 130, 142, 223 “The Poet” (Emerson), 6 New England Monthly, 61 Poets of America (1885) (Stedman), The New Era in American Poetry, 25–26, 61, 129 199–202 Poets’ Club (London), 18 The New Republic, 1–2, 122, 179, 184 The Poetry Journal, 106, 113, 179, “New Woman,” 3, 30 265n92 The New York Sun, 75, 88, 105, 110 Poetry: A Magazine of Verse (Chicago), The New York Times, 1–2, 75, 77, 79, 82, 2, 16, 18, 52, 86, 114–26, 152, 91, 95, 106, 144, 184 157–59, 161, 223 New York World, 39 founding of, 114–26 Niagara Movement, 9 and Lowell, 161 Nietzsche, Friedrich, 4, 5, 55, 87, 152, The Poetry Review, 151, 252n95 169, 192, 194–95 Poetry Society of America (PSA), 16, 84, Ninevah and Other Poems (Viereck), 86, 94, 102–8, 110–11, 113, 89–93, 99 152–53, 190, 198, 205, 210–16, Norris, Frank, 69–70 220, 243n63, 244n70,71, North American Review, 38 267n125 North of Boston (Frost), 1–2, 148, 197 and audience connection, 102–03 Noyes, Alfred, 105 birth of, 102–08 Nussbaum, Martha, 11 national award, 106 and wartime politics, 210–16 O’Brien, Edward, 113 Pound, Ezra, 1, 16, 17–18, 37–38, 51, O’Sheel, Shaemus, 214 98, 101, 106, 114–19, 122–23, The Octopus (1901) (Norris), 69–70 125–26, 128, 153, 157–59, “Ode on a Grecian Urn” (Keats), 5, 163, 165, 167–68, 171, 176, 127, 191 178–80, 183, 217–18, 223, 225n4, Oppenheim, James, 9, 18, 51, 82, 245n115, 247n8, 248n9,11, 98–99, 188, 194–96, 208–09 253n120, 257n41, 260n88 Others: A Magazine of the New Verse, “Ballad for Gloom,” 101 124–25, 173, 218 and Braithwaite, 17, 157–59 Overland Monthly, 61 and Des Imagistes, 178 Exultations, 115 The Pisan Cantos (Pound), 223 and Imagism, 18, 163 Pan American Exposition (1901), 9 and Lowell, 165, 167, 171, 178–80 Panic of 1893, 15, 30, 32 and Monroe, 115–19, 122 Pater, Walter, 23, 44, 131–32, 134, 176, The Pisan Cantos, 223 259n70 Personae, 115 “Patterns” (Lowell), 211 on poetry, 115–16, 128–29 Peabody, Josephine Preston, 55 praise of, 117–18 Peck, Harry Thurston, 54 Provença, 98 Pendleton Act (1883), 28 and the PSA, 106 Perry, Bliss, 30–31, 40, 138 on rejection, 37–38 philanthropy, 3, 84, 112 “To Whistler, American,” 114 Phyllis Wheatley Clubs, 8 and Whitman, 51 Picasso, Pablo, 10 pragmatism, 48–49, 74, 100, 120, 193, Pictures of the Floating World (1919) 212, 236n113 (Lowell), 173, 221 Preface to the Lyrical Ballads (1800) Pilgrims and Other Poems (1907), 45 (Wordsworth), 5, 68–69 Plato, 5–6, 24, 47, 49, 56, 68, Progressive poets, 5–6, 12–13, 15, 46, 80, 98 49, 132, 163, 187, 202, 204–08, Poe, Edgar Allan, 10, 87, 89, 169, 184, 217–24 196, 214, 236n126 Proust, Marcel, 12 Poems on Slavery (1842) (Longfellow), Pulitzer Prize, 106, 144, 220, 243n63, 33 250n56, 251n60 278 Index racism, 3, 8–10, 17, 30–32, 36, 56, Scribner’s Monthly, 1, 23–24, 34, 37, 130–31, 135–39, 153–58, 181, 187, 42–43, 53, 61, 70, 77, 101, 166 233n49, 249n34, 250n36 See also The Century Magazine Rauschenbusch, Walter, 4 Scollard, Clinton, 132 Reed, John, 96–97 Scudder, Horace, 55 Reedy, William Marion, 38, 108–09, The Sea (Oppenheim), 195 122–23, 142 The Sea Wolf (London), 34 Reese, Lizette Woodworth, 105 Sedgwick, Alexander, 37–38, 41–42 “Renasence” (Millay), 145 Sedgwick, Ellery, 259n68 Repression and Recovery (Nelson), 11 Sedition Act (1918), 207 Rhymes To Be Traded For Bread Seurat, Georges, 12, 168 (Lindsay), 3 Seven Arts, 2, 9, 97, 196, 207–09 Rice, Cale Young, 107, 220 sexuality, 30–31, 47, 50, 81, 86, 89, 91, Rice, Isaac, 102 95, 97, 130–31, 163, 172–74, 182, Riis, Jacob, 6, 15 258n48 Riley, James Whitcomb, 63–66 Shakespeare, William, 9, 38, 78, 99, Rittenhouse, Jessie B., 2, 8, 16, 35, 102, 108, 111, 137, 194 43–44, 57, 106–11, 129, 131–34, Shaw, George Bernard, 46, 55, 120 145, 174, 199, 202, 214–16 Shelley, Percy Bysshe, 5, 9–10, 27–28, “The Road Not Taken” (Frost), 156 39, 45, 59–60, 62, 78, 87, 113, 123, Robinson, Edwin Arlington, 52–56, 129, 144, 166, 189, 194, 196, 202 143, 150, 155–56, 173, The Shoes of Happiness and Other Poems 180–81 (1915) (Markham), 123 Romanticism, 5, 13, 18, 19, 27–28, Sinclair, Upton, 46, 95–96 32–33, 38, 46, 52, 63, 82, 91–92, Sklansky, Jeffrey, 5 103, 111, 117, 131, 152, 164, 167, “The Slump of Poetry” (The Critic) 175, 181, 187–216 (1905), 1 Roosevelt, Franklin D., 124 The Smart Set magazine, 45 Roosevelt, James A., 211 Smith, Adam, 46 Roosevelt, Theodore, 28, 31–32, 55–56, Social Democrats, 87, 120 95, 123, 156, 233n49 Social Gospel movement, 4, 146 Root, John Wellborn, 40 socialism, 3, 15, 18–19, 21, 72, 80, 82, Rorty, James, 202, 222 84, 87, 97–98, 120, 143, 184, Rorty, Richard, 11, 222–23 187–88, 191–92, 194–95, 197, 202, Rose, Jonathan, 7 219 Rubin, Joan, 13–14 Some Imagist Poets (Lowell), 175, 179, Ruskin, John, 10, 21–23, 34, 44–45, 259n82 59, 61, 78, 82, 165, 169, 231n5, The Song of Hiawatha (Longfellow), 64 256n10 Song of the Labor Muse or Song of the Russell, Ada, 171 New Humanity (Markham), 62 Songs for the New Age (1914) Sackville-West, Vita, 174 (Oppenheim), 194–96 The San Francisco Examiner, 69, 72 Souls of Black Folk (Du Bois), 9, 136, Sandburg, Carl, 2, 36, 44, 117, 120–21, 221 124, 149, 158–59, 176, 180–83, Spanish America War (1898), 32, 66–67 198, 201, 203, 244n75, 245n115, Spingarn, Joel, 142, 154–55 254n129, 261n105,106, The Spirit of American Literature (1913) 263n51 (Macy), 52 Santayana, George, 12, 47–48, 52, 77, Spoon River Anthology (Masters), 101, 101, 105, 124, 146, 152 107, 122–23, 147, 182 Sarrett, Lew, 199 Stedman, Edmund Clarence The Saturday Evening Post, 93 (1833–1908), 25–26, 39 The Saturday Review, 1 Steffens, Lincoln, 124, 193 Scarry, Elaine, 11, 248n10 Stein, Gertrude, 10 Schiller, Friedrich, 46 Sterling, George, 144–46, 150, 157 Schnittkind, Henry Thomas, 151 Stevens, Wallace, 47, 124 Index 279

Stevenson, Robert Louis, 112 demeanor of, 199 Stickney, Trumbull, 31, 47 employment of, 190–91 Stieglitz, Alfred, 10 First Love: A Lyric Sequence, 190 The Stillwater Tragedy (1880) (Aldrich), and Frost, 197, 200 33 The New Era in American Poetry, Stoddard, Richard, 104 199–202 The Stones of Venice (Ruskin), 23 and rejection, 189–90 Stowe, Harriet Beecher, 74 and World War II, 220–21 “The Suicide” (Markham), 77 Untermeyer, Samuel, 106 Susman, Warren, 45 “uplift” literature, 8, 17, 33–34, 36, Swinburne, Algernon Charles, 10, 21, 39–40, 45–48, 55, 57, 65, 72–74, 55, 71, 87–88, 128, 142 76, 103, 169, 176, 185, 187, 207, Sword Blades and Poppy Seed (1914) 218, 249n34 (Lowell), 175–78 Upshaw, “Ernest Willie,” 63 Symons, Arthur, 90, 169 Upson, Arthur, 150 USS Harriet Monroe, 220 Talbert, Mary, 9 Talman, John, 76–77 Van Dyke, Henry, 149 Tarbell, Ida, 40, 124, 193 van Gogh, Vincent, 169 Taylor, Bayard, 25 Victorian genteel tradition (late 19th Teasdale, Sara, 98, 104, 106, 129, century) (1860s–1900s), 7–8, 142, 144, 219, 241n21, 251n60, 12–15, 19, 21–35, 41, 45, 48, 56, 266n97, 267n112 69, 114–15, 128–29, 140, 142, 167, Tendencies in Modern Poetry (Lowell), 169, 180, 188, 227n31, 247n8, 181, 183–84 250n38 Tennyson, Alfred, Lord, 9, 27, 51, 59, Victorian Poets (1883) (Stedman), 25 80–81, 99, 108, 116, 129, 175, 194, Viereck, George Sylvester, 14, 16, 38, 250n38 54, 82, 86–103, 108–11, 126, 147, Thackeray, William Makepeace, 44 150, 166, 173, 190, 202, 204–07, Thomas, Edith, 98, 133–34 210, 212–16, 220 Thoreau, Henry David, 5, 48 blacklisting of, 204–07, 210, 212–16, Ticknor, Caroline, 29–30, 138 220 Tietjens, Eunice, 104–05 The Confessions of a Barbarian, 95 Tolstoy, Leo, 45, 181, 188, 191 education, 88 Tompkins, Jane, 11 expulsion from PSA, 215, 220 Torrence, Ridgely, 71 The Fatherland, 204, 210 The Torrent and The Night Before A Game At Love and Other Plays, (Robinson), 52 88–89 Towne, Charles Hanson, 99, 190, and “genius,” 93, 95, 214 219–20 on Hitler, 220 transcendentalism, 5–6, 11, 48, 50, 77 Hohenzollern ancestry, 87–88, 94 Trotter, William Monroe, 135 Ninevah and Other Poems, 89–93, 99 Tubman, Harriet, 9 photograph of, 94 Twain, Mark, 66, 124 and Roosevelt, 95 and Wilde, 87–88 Uncle Tom’s Cabin (Stowe), 74 See also Poetry Society of America Underwood, Francis, 23 Vlag, Piet, 191 University of Michigan, 199 Vorticisim, 106 Untermeyer, Jean Starr, 191 Untermeyer, Louis, 2, 18, 38, 54, 82, Wagstaff, Blanche Shoemaker, 96, 110, 91, 100, 104, 106, 118, 125, 129, 242n21, 265n92 145, 151, 156–57, 165, 167, 174, Walker, Cheryl, 11, 171 179, 188–91, 193–202, 207–10, Warner, Charles Dudley, 66, 75 218, 220 Washington, Booker T., 51, 130, 217, biography, 189 249n34 Challenge, 196–97 The Washington Post, 103, 205, 212 280 Index

“The Waste Land” (Eliot), 183, 218 Williams, William Carlos, 125, 163, Wattles, Willard, 199 184, 218–19 Wheeler, Edward, 107, 145, 150, 187, Wilson, Woodrow, 65, 130, 204, 211, 212–15, 243n63 213 Whitelock, William Wallace, women, See gender 80–81 Wood, Clement, 2, 184, 186, 190, Whitman, Walt, 15, 24, 33, 49–52, 57, 214–15 59, 64, 80–81, 85, 87, 90, 108, Woodberry, George, 105 113–14, 116–18, 120, 146, 152, Wordsworth, William, 5, 9, 26–28, 68, 169, 184, 192–94, 196, 200–01, 77, 80, 82, 96, 128, 137, 142, 222, 218 230n59 as “America’s poet,” 51 World’s Fair in Chicago (1893), 33–34, on audiences, 113–14 39 criticism of, 50 World’s Fair Literary Congress (1893), and democracy in verse, 49–50 66 and ethics, 57 World War I, 188, 203–16, 219 ideal poet of, 49–50 World War II, 220–21, 223 popularity of, 51–52 Wright, Willard Huntington, 148 See also Leaves of Grass The Writer Magazine, 30 Whittier, John Greenleaf, 30, 33, 51 Wyatt, Edith, 114 Widdemer, Margaret, 84, 107–08, 219–20 Yeats, John Butler, 2–3 Wilcox, Ella Wheeler, 174, 198 Yeats, William Butler, 1, 2, 106, 122, Wilde, Oscar, 12, 32, 45, 86–89, 91, 97, 223, 246n129 110, 173 Yerkes, Charles, 39 Wilhelm I of Prussia, 87 The Younger Choir (1910), 82 Wilhelm II, German Emperor, 95, 204, The Youth’s Companion, 1 212 Wilkinson, Marguerite, 175 Zorach, William, 125