Harold Monro - Poems

Total Page:16

File Type:pdf, Size:1020Kb

Harold Monro - Poems Classic Poetry Series Harold Monro - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Harold Monro(14 March 1879 - 16 March 1932) Harold Edward Monro was a British poet, the proprietor of the Poetry Bookshop in London which helped many famous poets bring their work before the public. Monro was born in Brussels, but his parents were Scottish. He was educated at Radley and at Caius College, Cambridge. His first collection of poetry was published in 1906. He founded a poetry magazine, The Poetry Review, which was to be very influential. In 1912, he founded the Poetry Bookshop in Bloomsbury, London, publishing new collections at his own expense and rarely making a profit, as well as providing a welcoming environment for readers and poets alike. Several poets, including <a href="http://www.poemhunter.com/wilfred- owen/">Wilfred Owen</a>, actually lodged in the rooms above the bookshop. Monro was also closely involved with Edward Marsh in the publication of Georgian Poetry. Although homosexual, he married before World War I, but he and his wife separated and were divorced in 1916. In 1917, he was called up for military service, a very unhappy experience for him. His health soon gave way, and he returned to run the Poetry Bookshop in 1919. He was not a mainstream war poet, but did occasionally write about the subject. In 1920, he married his long- standing assistant, Alida Klementaski. Their relationship seems to have been an intellectual rather than a physical one. Monro continued to suffer from alcoholism, which contributed to his early death. www.PoemHunter.com - The World's Poetry Archive 1 Child Of Dawn O gentle vision in the dawn: My spirit over faint cool water glides, Child of the day, To thee; And thou art drawn By kindred impulse over silver tides The dreamy way To me. I need thy hands, O gentle wonder-child, For they are moulded unto all repose; Thy lips are frail, And thou art cooler than an April rose; White are thy words and mild: Child of the morning, hail! Breathe thus upon mine eyelids -- that we twain May build the day together out of dreams. Life, with thy breath upon my eyelids, seems Exquisite to the utmost bounds of pain. I cannot live, except as I may be Compelled for love of thee. O let us drift, Frail as the floating silver of a star, Or like the summer humming of a bee, Or stream-reflected sunlight through a rift. I will not hope, because I know, alas, Morning will glide, and noon, and then the night Will take thee from me. Everything must pass Swiftly -- but nought so swift as dawn-delight. If I could hold thee till the day, Is broad on sea and hill, Child of repose, What god can say, What god or mortal knows, What dream thou mightest not in me fulfil? O gentle vision in the dawn: www.PoemHunter.com - The World's Poetry Archive 2 My spirit over faint cool water glides, Child of the day, To thee; And thou art drawn By kindred impulse over silver tides The dreamy way To me. Harold Monro www.PoemHunter.com - The World's Poetry Archive 3 Children Of Love The holy boy Went from his mother out in the cool of the day Over the sun-parched fields And in among the olives shining green and shining grey. There was no sound, No smallest voice of any shivering stream. Poor sinless little boy, He desired to play and to sing; he could only sigh and dream. Suddenly came Running along to him naked, with curly hair, That rogue of the lovely world, That other beautiful child whom the virgin Venus bare. The holy boy Gazed with those sad blue eyes that all men know. Impudent Cupid stood Panting, holding an arrow and pointing his bow. (Will you not play? Jesus, run to him, run to him, swift for our joy. Is he not holy, like you? Are you afraid of his arrows, O beautiful dreaming boy?) And now they stand Watching one another with timid gaze; Youth has met youth in the wood, But holiness will not change its melancholy ways. Cupid at last Draws his bow and softly lets fly a dart. Smile for a moment, sad world! - It has grazed the white skin and drawn blood from the sorrowful heart. Now, for delight, Cupid tosses his locks and goes wantonly near; But the child that was born to the cross Has let fall on his cheek, for the sadness of life, a compassionate tear. www.PoemHunter.com - The World's Poetry Archive 4 Marvellous dream! Cupid has offered his arrows for Jesus to try He as offered his bow for the game. But Jesus went weeping away, and left him there wondering why. Harold Monro www.PoemHunter.com - The World's Poetry Archive 5 Dog You little friend, your nose is ready; you sniff, Asking for that expected walk, (Your nostrils full of the happy rabbit-whiff) And almost talk. And so the moment becomes a moving force; Coats glide down from their pegs in the humble dark; The sticks grow live to the stride of their vagrant course. You scamper the stairs, Your body informed with the scent and the track and the mark Of stoats and weasels, moles and badgers and hares. We are going OUT. You know the pitch of the word, Probing the tone of thought as it comes through fog And reaches by devious means (half-smelt, half-heard) The four-legged brain of a walk-ecstatic dog. Out in the garden your head is already low. (Can you smell the rose? Ah, no.) But your limbs can draw Life from the earth through the touch of your padded paw. Now, sending a little look to us behind, Who follow slowly the track of your lovely play, You carry our bodies forward away from mind Into the light and fun of your useless day. * * * * * Thus, for your walk, we took ourselves, and went Out by the hedge and the tree to the open ground. You ran, in delightful strata of wafted scent, Over the hill without seeing the view; Beauty is smell upon primitive smell to you: To you, as to us, it is distant and rarely found. Home ... and further joy will be surely there: Supper waiting full of the taste of bone. You throw up your nose again, and sniff, and stare www.PoemHunter.com - The World's Poetry Archive 6 For the rapture known Of the quick wild gorge of food and the still lie-down While your people talk above you in the light Of candles, and your dreams will merge and drown Into the bed-delicious hours of night. Harold Monro www.PoemHunter.com - The World's Poetry Archive 7 Every Thing Since man has been articulate, Mechanical, improvidently wise, (Servant of Fate), He has not understood the little cries And foreign conversations of the small Delightful creatures that have followed him Not far behind; Has failed to hear the sympathetic call Of Crockery and Cutlery, those kind Reposeful Teraphim Of his domestic happiness; the Stool He sat on, or the Door he entered through: He has not thanked them, overbearing fool! What is he coming to? But you should listen to the talk of these. Honest they are, and patient they have kept, Served him without his Thank you or his Please. I often heard The gentle Bed, a sigh between each word, Murmuring, before I slept. The Candle, as I blew it, cried aloud, Then bowed, And in a smoky argument Into the darkness went. The Kettle puffed a tentacle of breath : -- ' Pooh! I have boiled his water, I don't know Why; and he always says I boil too slow, He never calls me 'Sukie, dear,' and oh, I wonder why I squander my desire Sitting submissive on his fire.' Now the old Copper Basin suddenly Rattled and tumbled from the shelf, Bumping and crying: ' I can fall by myself; Without a woman's hand To patronize and coax and flatter me, I understand www.PoemHunter.com - The World's Poetry Archive 8 The lean and poise of gravitable land.' It gave a raucous and tumultuous shout, Twisted itself convulsively about, Rested upon the foor, and, while I stare, It stares and grins at me. The old impetuous Gas above my head Begins irascibly to flare and fret, Wheezing into its epileptic jet, Reminding me I ought to go to bed. The Rafters creak; an Empty-Cupboard door Swings open; now a wild Plank of the floor Breaks from its joist, and leaps behind my foot. Down from the chimney half a pound of Soot Tumbles, and lies, and shakes itself again. The Putty cracks against hte window-pane. A piece of Paper in the basket shoves Another piece, and toward the bottom moves. My independent Pencil, while I write, Breaks at the point: the ruminating Clock Stirs all its body and begins to rock, Warning the waiting presence of the Night, Strikes the dead hour, and tumbles to the plain Ticking of ordinary work again. You do well to remind me, and I praise Your strangely individual foreign ways. You call me from myself to recognize Companionship in your unselfish eyes. I want your dear acquaintances, although I pass you arrogantly over, throw Your lovely sounds, and squander them along My busy days. I 'll do you no more wrong. Purr for me, Sukie, like a faithful cat. You, my well trampled Boots, and you, my Hat, Remain my friends: I feel, though I don't speak, Your touch grow kindlier from week to week.
Recommended publications
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]
  • First World War Centenary Poetry Collection
    First World War Centenary Poetry Collection 28th July 2014 All items in this collection are in the U.S. Public Domain owing to date of publication. If you are not in the U.S.A., please check your own country's copyright laws. Whether an item is still in copyright will depend on the author's date of death. 01 Preface to Poems by Wilfred Owen (1893 - 1918) This Preface was found, in an unfinished condition, among Wilfred Owen's papers after his death. The (slightly amended) words from the preface “My subject is War, and the pity of War. The Poetry is in the pity” are inscribed on the memorial in Poets' Corner in Westminster Abbey. 02 For the Fallen by Laurence Binyon (1869 - 1943) Published when the Battle of the Marne was raw in people's memories, For the Fallen was written in honour of the war dead. The fourth verse including the words “We will remember them” has become the Ode of Remembrance to people of many nations and is used in services of remembrance all over the world. 03 [RUSSIAN] Мама и убитый немцами вечер (Mama i ubity nemcami vecher) by Vladimir Mayakovsky (1893 - 1930) В стихах «Война объявлена!» и «Мама и убитый немцами вечер» В.В. Маяковский описывает боль жертв кровавой войны и свое отвращение к этой войне. In this poem “Mama and the Evening Killed by the Germans” Mayakovsky describes the victims' pain of bloody war and his disgust for this war. 04 To Germany by Charles Hamilton Sorley (1895 - 1915) Sorley is regarded by some, including John Masefield, as the greatest loss of all the poets killed during the war.
    [Show full text]
  • Modem Women's Poetry 1910—1929
    Modem Women’s Poetry 1910—1929 Jane Dowson Submitted for the degree of Doctor of Philosophy at the University of Leicester. 1998 UMI Number: U117004 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U117004 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Modern Women9s Poetry 1910-1929 Jane Dowson Abstract In tracing the publications and publishing initiatives of early twentieth-century women poets in Britain, this thesis reviews their work in the context of a male-dominated literary environment and the cultural shifts relating to the First World War, women’s suffrage and the growth of popular culture. The first two chapters outline a climate of new rights and opportunities in which women became public poets for the first time. They ran printing presses and bookshops, edited magazines and wrote criticism. They aimed to align themselves with a male tradition which excluded them and insisted upon their difference. Defining themselves antithetically to the mythologised poetess of the nineteenth century and popular verse, they developed strategies for disguising their gender through indeterminate speakers, fictional dramatisations or anti-realist subversions.
    [Show full text]
  • Harold Monro Poet of the New Age
    palgrave.com Literature : Poetry and Poetics Hibberd, D. Harold Monro Poet of the New Age Troubled by his complex sexuality, Monro was a tormented soul whose aim was to serve the cause of poetry. Hibberd's revealing and beautifully-written biography will help rescue Monro from the graveyard of literary history and claim for him the recognition he deserves. Poet and businessman, ascetic and alcoholic, socialist and reluctant soldier, twice-married yet homosexual, Harold Monro probably did more than anyone for poetry and poets in the period before and after the Great War, and yet his reward has been near oblivion. Aiming to encourage the poets of the future, he befriended, among many others, T.S. Eliot, Ezra Pound and the Imagists; Rupert Brooke and the Georgians; Marinetti the Futurist; Wilfred Owen and other war poets; and the noted women poets, Charlotte Mew and Amma Wickham. Order online at springer.com/booksellers Palgrave Macmillan Springer Nature Customer Service Center GmbH Customer Service 2001, XII, 300 p. 1st Tiergartenstrasse 15-17 edition 69121 Heidelberg Germany T: +49 (0)6221 345-4301 Printed book [email protected] Hardcover Printed book Hardcover ISBN 978-0-333-77934-7 £ 107,00 | CHF 147,50 | 124,99 € | 137,49 € (A) | 133,74 € (D) Available Discount group Palgrave Monograph (P6) Product category Monograph Prices and other details are subject to change without notice. All errors and omissions excepted. Americas: Tax will be added where applicable. Canadian residents please add PST, QST or GST. Please add $5.00 for shipping one book and $ 1.00 for each additional book.
    [Show full text]
  • A Note on the Origins of 1914-18 'War Poetry'
    A note on the origins of 1914-18 ‘war poetry’ Dominic Hibberd Biography Dominic Hibberd, was a biographer, editor and critic who taught at universities in Britain, the USA, and China. He wrote biographies of two poets, Harold Monro and Wilfred Owen, as well as the critical study Owen the Poet (1986). He edited Poetry of the First World War in the Casebook series (1981), and with John Onions, compiled and edited The Winter of the World: Poems of the First World War (2007). Abstract The sort of work that has often been thought of as typical British First World War poetry – realistic, often angry poems about the actualities of the front line, written from the point of view of the ordinary soldier and aimed at the civilian conscience – was in fact not typical at all. And it was not begun by soldiers in the aftermath of front-line horrors, as is often supposed, but by two civilian poets very early in the war. Harold Monro and Wilfrid Gibson deserve to be recognised as the first of what modern readers would call the ‘war poets’. Résumé Les œuvres qui sont souvent considérées comme tout à fait caractéristiques de la poésie britannique de la première guerre mondiale, — réalistes, souvent des poèmes d’un style cru, traduisant la réalité du front, telle qu’elle est vécue par le soldat de base, pour en faire prendre conscience aux civils, ne sont en réalité en rien conformes à ce modèle. Les premières œuvres relevant de ce genre n’ont pas été le fait de militaires revenant de l’horreur du front, comme on le croit souvent, mais de deux poètes civils qui les ont écrites au tout début de la guerre.
    [Show full text]
  • Connotations of "Strange Meeting"
    Connotations Vol. 3.1 (1993) Connotations of "Strange Meeting" KENNETH MUIR Wilfred Owen's early imitations of the Romantic poets had been a means oflearning his "trade" as a poet (to use Yeats' word for a poet's vocation) but without producing poems of permanent value. It was not until his stay in Bordeaux, and still more after his experience of the realities of modern war that Owen's investment in the Romantics began to pay dividends. There are traces of Keats and Shelley in "Strange Meeting" but no one denies that the poem is essentially original: no one else could have written it. Luckily for him, Owen's poems have been edited by a long line of poets-Edith Sitwell, Siegfried Sassoon, Edmund Blunden, Ceci1 Day Lewis, Jon Stallworthy-and this is a posthumous existence he would have appreciated. He was a poets' poet. Like Keats, Owen wished to be judged by his peers. Just as annotated editions of Keats demonstrate the way in which some of his best poems owe a great deal to deliberate or unconscious echoes of his predecessors, so editors have similarly identified a wealth of echoes in the poems of Willed Owen.1 Many of these were discovered by Stallworthy; others were summarised in his two splendid editions.2 An excellent example is offered by 11 Anthem for doomed Youth," the poem that made Sassoon realize that Owen was an important poet. It is a useful example because the material is readily available and unambiguous. Moreover we have facsimiles of five manuscripts, reproduced by Day Lewis and in the Stallworthy biography, and we can watch how under Sassoon's tutelage, Owen turned it into a great poem.3 He had been working on two related fragmentary poems} one of which contained the line- Bugles that sadden all the evening air, _______________ ConnotationsFor debates inspired - A Journal by this for article, Critical please Debate check by the the Connotations Connotations website Society at is licensed<http://www.connotations.de/debmuir00301.htm>.
    [Show full text]
  • Imagism and Te Hulme
    I BETWEEN POSITIVISM AND Several critics have been intrigued by the gap between late AND MAGISM Victorian poetry and the more »modern« poetry of the 1920s. This book attempts to get to grips with the watershed by BETWEEN analysing one school of poetry and criticism written in the first decade of the 20th century until the end of the First World War. T To many readers and critics, T.E. Hulme and the Imagists . E POSITIVISM represent little more than a footnote. But they are more HULME . than mere stepping-stones in the transition. Besides being experimenting poets, most of them are acute critics of art and literature, and they made the poetic picture the focus of their attention. They are opposed not only to the monopoly FLEMMING OLSEN T AND T.S. ELIOT: of science, which claimed to be able to decide what truth and . S reality »really« are, but also to the predictability and insipidity of . E much of the poetry of the late Tennyson and his successors. LIOT: Behind the discussions and experiments lay the great question IMAGISM AND What Is Reality? What are its characteristics? How can we describe it? Can we ever get to an understanding of it? Hulme and the Imagists deserve to be taken seriously because T.E. HULME of their untiring efforts, and because they contributed to bringing about the reorientation that took place within the poetical and critical traditions. FLEMMING OLSEN UNIVERSITY PRESS OF ISBN 978-87-7674-283-6 SOUTHERN DENMARK Between Positivism and T.S. Eliot: Imagism and T.E.
    [Show full text]
  • Appendix a the Monro Family
    Appendix A The Monro Family Legend traces the origins of the Clan Munro to an eleventh-century prince of Fermanagh. Written records at least as far back as the fourteenth century show the Clan as occupying ancestral lands north of Inverness, at Fowlis (pronounced `Fowls', hence the eagles in the family arms). The chief of the Clan was made a baronet by Charles I. Harold's branch of the Clan, the Monros of Fyrish, one of several cadet families, started in the sixteenth century and later adopted the spelling `Monro'. In 1690 Alexander Monro was dismissed as Principal of Edinburgh University and incumbent of St Giles for his Jacobite sympathies; he was apparently sent to London so that the government could keep an eye on him. Dr James Monro (1680±1752), Alexander's son, became physician in charge of Bethle- hem Hospital for Lunatics, the ancient asylum better known as Bedlam. He was succeeded there by his son, Dr John Monro (1715±91). Both men were criticised for discouraging research and for keeping their knowledge and patients to themselves. John went so far as to say that madness was `a distemper of such a nature, that very little of real use can be said concerning it`. A preference for doing rather than theorising was perhaps a family characteristic, but there were probably good financial reasons for keeping a monopoly. In 1781 John acquired control of Brooke House, a medieval mansion in Hackney which had been converted into a profitable asylum for patients from wealthy families. John was a man of culture, a Shakespeare scholar, a friend of Hogarth and a keen collector of books and prints.
    [Show full text]
  • David Gascoyne Interviewed by Mel Gooding
    NATIONAL LIFE STORIES ARTISTS’ LIVES David Gascoyne Interviewed by Mel Gooding C466/03 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/03 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Gascoyne Title: Mr Interviewee’s forename: David Sex: Male Occupation: poet, artist and translator Date and place of birth: 1916 Dates of recording: 11.07.1990 Location of interview: interviewee's home Name of interviewer: Mel Gooding Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F1380 – F1385 Total no.
    [Show full text]
  • The View from the Waste Land: How Modernist Poetry in England Survived the Great War
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS Martin John Fletcher The view from The Waste Land: how Modernist poetry in England survived the Great War PORTO ALEGRE 2016 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS The view from The Waste Land: how Modernist poetry in England survived the Great War Tese de doutorado em Literatura Inglesa, submetida como requisito parcial para a obtenção do título de doutor. Orientadora: Profa. Dra. Kathrin Rosenfield Doutorando: Martin Fletcher Area de concentração: Literatura inglesa PORTO ALEGRE 2016 CIP - Catalogação na Publicação Fletcher, Martin The view from 'The Waste Land': how Modernist poetry in England survived the Great War / Martin Fletcher. -- 2016. 233 f. Orientadora: Profa. Dra. Kathrin Rosenfield. Tese (Doutorado) -- Universidade Federal do Rio Grande do Sul, Instituto de Letras, Programa de Pós- Graduação em Letras, Porto Alegre, BR-RS, 2016. 1. T. S. Eliot; Ezra Pound; Imagism; Herbert Read; Harold Monro.. I. Rosenfield, Profa. Dra. Kathrin, orient. II. Título. Elaborada pelo Sistema de Geração Automática de Ficha Catalográfica da UFRGS com os dados fornecidos pelo(a) autor(a). For Ana, my wonderful Carioca wife, and my loving son Edward For my mother, Grace May, who has supported me in all I have done, and my brother Graham, a true friend In memory of Rupert Brooke, Wilfred Owen and all the Great War poets who gave their lives selflessly and gifted us with their poetry THANKS AND
    [Show full text]
  • Short Form American Poetry
    SHORT FORM AMERICAN POETRY The Modernist Tradition Will Montgomery Chapter 1 Ezra Pound, H.D. and Imagism While Imagism is typically given foundational status in the modernist line of anglophone poetry, it was produced by a grouping as confected and irregular as any in the long history of twentieth-century avant- gardes. Ezra Pound, obviously, is central to this conversation, but in this chapter I will also pay close attention to H.D., whose poetry was the most rigorous exemplar of imagist practice (even if Pound remained for many poets of the modernist line the pre-eminent model). I discuss austerity, clarity and directness in this writing, and the complex relation- ship that Imagism has with figures of the inexpressible, both in its highly mediated adaptations of poetry of the French symbolist tradition and in the literature of ancient Greece, China and Japan. The relationship between the empirical and short form is usually taken as implicit by poets of the imagist and post-imagist line: a reduced style becomes an inevitable concomitant of this mode of writing. Yet the use of ellipsis and the handling of the linebreak in this poetry go a long way beyond the eschewal of ornamentation. There is a contradiction between the reduced style and the empirical ambitions of such poets – the desire for direct statement as a means of forging a relationship between object and artwork that is unmediated by the artifice of poetic language. The compression and ellipsis that characterises such writing, even at the level of the sentence, works against conventional sense- making, preventing the poetry from representing the things of the world with anything approaching directness.
    [Show full text]
  • 137 Books in Review 1910 and the Commonsense of Mlunicipal
    137 Books in Review 1910 and The Commonsense of Mlunicipal Trading in 1911),The Bodley Head did not publish any of his books until after his death. The authors do not mention these American issues of Shaw's books. They spend two paragraphs on inquiries he made about possible publication of his plays. No one doubts Shaw's importance, but why should he even be mentioned when other authors whom The Bodley Head published get short shrift? With the exception of the American branch (which was sold to Dodd, Mead and Co. in the early 1920s), there is nothing in this history on the company's activity in other countries. Did the company bargain for rights outside of Britain, did it distrib- ute its bookts internationally through agents, or did it export its sheets to other pub- lishers? This history provides no answers to these questions. Of Canadian interest there is some information on the young John Buchan, who contributed to the Yellow Book and was engaged by John Lane as a reader of fiction. Buchan left behind I72 reader's reports which collectively paint an intimate portrait of his literary tastes and judgments. Disappointingly, nothing new is revealed about Stephen Leacock's rela~tionship with The Bodley Head. The accepted view is that on a return voyage to Britain in 19Io Lane read the vanity edition of Leacock's Literary Lapses and cabled him with an offer of a regular trade edition. Lambert and Ratcliffe contend that Leacock was discovered by Lane's associate, Frederic Chapman, who happened to read 'My Financial Career' in the Spectator in 1908.
    [Show full text]