Exploring the Complex Political Ideology Of
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Howard Willard Cook, Our Poets of Today
MODERN AMERICAN WRITERS OUR POETS OF TODAY Our Poets of Today BY HOWARD WILLARD COOK NEW YORK MOFFAT, YARD & COMPANY 1919 COPYRIGHT, 1918, BY MOFFAT, YARP & COMPANY C77I I count myself in nothing else so happy as in a soul remembering my good friends: JULIA ELLSWORTH FORD WITTER BYNNER KAHLIL GIBRAN PERCY MACKAYE 4405 ACKNOWLEDGMENTS To our American poets, to the publishers and editors of the various periodicals and books from whose pages the quotations in this work are taken, I wish to give my sincere thanks for their interest and co-operation in making this book possible. To the following publishers I am obliged for the privilege of using selections which appear, under their copyright, and from which I have quoted in full or in part: The Macmillan Company: The Chinese Nightingale, The Congo and Other Poems and General Booth Enters Heaven by Vachel Lindsay, Love Songs by Sara Teasdale, The Road to Cas- taly by Alice Brown, The New Poetry and Anthology by Harriet Monroe and Alice Corbin Henderson, Songs and Satires, Spoon River Anthology and Toward the Gulf by Edgar Lee Masters, The Man Against the Sky and Merlin by Edwin Arlington Rob- inson, Poems by Percy MacKaye and Tendencies in Modern American Poetry by Am> Lowell. Messrs. Henry Holt and Company: Chicago Poems by Carl Sandburg, These Times by Louis Untermeyer, A Boy's Will, North of Boston and Mountain Interval by Robert Frost, The Old Road to Paradise by Margaret Widdener, My Ireland by Francis Carlin, and Outcasts in Beulah Land by Roy Helton. Messrs. -
Carl Sandburg
The International Journal of Reminiscence and Life Review © 2016 The Author 2016, Volume 3, Issue 1, pp. 61-63 http://143.95.253.101/~radfordojs/index.php/IJRLR Shared Reminiscence Carl Sandburg David Cooley Hendersonville, North Carolina In 1945, Carl Sandburg and his wife, Lillian, moved to the Hendersonville area from a small farm on the shores of Lake Michigan. A lot of people in the area wondered why this famous man had chosen our little community as his new home. He had paid what was thought to be an astounding price of $45,000 for 248 acres of land that included a three-story main house, a barn complex and several outbuildings. Mr. Sandburg reportedly said he felt he'd bought an entire “village,” and Mrs. Sandburg, a breeder of champion milk goats told friends that they had bought “a million acres of sky.” The estate was once owned by C. G. Memminger, the first secretary of the Confederacy. I wonder if Mr. Sandburg, the greatest Lincoln authority knew this or, if he did, found it somewhat ironic. I collected his garbage I was required to read some of his writings in high school, but the first time I came face to face with Carl Sandburg was an early morning at his home in Flat Rock. I had, along with John Shepherd, an older friend, established the first rural garbage collection service in Hendersonville. I was a junior in high school. Sandburg was a customer. “Come on in,” he said, as I went to his kitchen door to pick up his garbage. -
Carl Sandberg Tape Recordings
FOX YOUR — Box 1517, AGENCY ASSOCIATION Silver Spring BUSINESS Maryland 20902 CHURCH COMMITTEE HOME RECORDING (Trade-Mark) SERVICES ORGANIZATION PROFESSION LEO ORSO SCHOOL P. O. BOX 1745 STUDIO RADIO - TV WASHINOTON 13, D. C. PRESIDENT MUSIC-SPEECH UNION This folder contains a complete carbon copy of index of tape re- cordings in the Carl Sandburg col- lection of tape recordings owned by Leo Orso as of March 30,1966. -1- CARL SANDBURG TAPE RECORDINGS - March 29, 1966 1. Two tapes. Double track. Special program for Mr, Sandburg's 75th Birthday Alan Jenkins and speech by Mr. Sandburg. Two 1200 foot mylar tapes, each two tracks, Also on Tape # 2 is an address to Illinois State Histor-ical Society by Mr, Sandburg. Copied from phonograph records. Noisy. Also Radio Station WLS Brithday program Mr. Sandburg. Catcher 1949 & 1953 2. October 15, 1950. Three - 1200 foot acetate tapes, (Scotch) Full track. 71/2 ips. Excellent quality, Approx. one and one-half hours, Recorded at Harvard University, Excellent quality, 3. December 13,1954. Acetate tape. Pull track. One reel 1200 foot, Producer's Showcase, Famous names on this tape including Eisenhower, Perry Como. Marian Anderson, and Mr. Sandburg, Tribute to overseas war correspondents and particularly those who died in action. Also Henry Ford, and narrated by Charles Daly, Very good. Reverent, 4. March 8, 1955. One 1200 foot acetate(600 foot only), Full track, Dedication of Overseas Press Club in New York. Taken from above No.3, but with new narrator. Apparently played at the dinner meeting and recorded, 5. June 1957. Carl Sandburg and taps of Arlene Francis. -
“The People, Yes – Carl Sandburg”
“The People, Yes – Carl Sandburg” A Sermon Delivered by Rev. Bruce Southworth, Senior Minister, at The Community Church of New York Unitarian Universalist, on Sunday, October 14, 2012 READINGS In his volume THE PEOPLE, YES, Carl Sandburg meditates upon human nature, and sometimes asks questions like Socrates, here reflecting his Social Democrat convictions: In the night and the mist the voices meet as the clash of steel on steel Over the rights of possession and control and the points: what is mine? what is yours? and who says so? (37, p. 481) The heart is always a pervasive theme, as when he observes: Here is a thing my heart wishes the world had more of: I heard it in the air of one night when I listened To a mother singing softly to a child restless and angry in the darkness. (COMPLETE POEMS, p. 62) The final reading comes from the preface to Sandburg’s THE COMPLETE POEMS. At the age of six, as my fingers first found how to shape the alphabet, I decided to become a person of letters. At the age of ten I had scrawled letters on slates, on paper, on boxes and walls and I formed an ambition to become a sign-painter. At twenty I was an American soldier in Puerto Rico writing letters printed on the home town paper. At twenty-one I went to West Point, being a classmate of Douglas MacArthur and Ulysses S. Grant III - for two weeks - returning home after passing in spelling, geography, history, failing in arithmetic and grammar. -
Missouri Historical Revi Ew
MISSOURI HISTORICAL REVI EW, CONTENTS The Missourian Walter B. Stevens A Century of Missouri M lisle Ernst C. Krohn How Clay County Celebrated Her Centennial Mrs. Ethel Massie Withers The Five Oldest Family Newspapers in Missouri Grace L. Gilmore Shelby's Expedition to Mexico John N. Edwards Pioneer Life in Southwest Missouri Wiley Britton. Historical Notes and Comments Historical Articles in Missouri Newspapers STATE HISTORICAL SOCIETY ^MISSOURI JANUARY, 1923 THE MISSOURI HISTORICAL REVIEW Vol. XVII January, 1923 No. 2 CONTENTS The Missourian 117 WALTER B. STEVENS A Century of Missouri Music 130 ERNST C. KROHN How Clay County Celebrated Her Centennial 159 MRS. ETHEL MASSIE WITHERS The Five Oldest Family Newspapers in Missouri 16? GRACE L. GILMORE Shelby's Expedition to Mexico 187 JOHN N. EDWARDS Pioneer Life in Southwest Missouri 198 WILEY BRITTON Historical Notes and Comments 212 Historical Articles in Missouri Newspapers 239 r^§^> FLOYD C. SHOEMAKER, Editor The Missouri Historical Review is published quarterly. The sub scription price is $1.00 a year. A complete set of the REVIEW is still obtainable—Vols. 1-16, bound, $65.00; unbound. $32.00. Prices of separate volumes given on request. All communications should be addressed to Floyd C. Shoemaker, Secretary, The State Historical So ciety of Missouri, Columbia, Missouri. ** Entered as second-class matter at the postoffice at Columbia, Mis souri, under act of Congress, Oct. 3, 1917, Sec. H2-" CONTRIBUTORS WALTER B. STEVENS, author and journalist, is the most popular historical writer in Missouri. Mr. Stevens has over a score of books to his credit and in 1921 published a Centennial History of Missouri. -
Doris Kearns Goodwin
Connecting You with the World's Greatest Minds Doris Kearns Goodwin Doris Kearns Goodwin is a world-renowned presidential historian and Pulitzer Prize-winning author. Goodwin is the author of six critically acclaimed and New York Times best-selling books, including her most recent, The Bully Pulpit: Theodore Roosevelt, William Howard Taft, and the Golden Age of Journalism (November, 2013). Winner of the Carnegie Medal, The Bully Pulpit is a dynamic history of the first decade of the Progressive era, that tumultuous time when the nation was coming unseamed and reform was in the air. Steven Spielberg’s DreamWorks Studios has acquired the film and television rights to the book. Spielberg and Goodwin previously worked together on Lincoln, based in part on Goodwin’s award-winning Team of Rivals: The Political Genius of Abraham Lincoln, an epic tome that illuminates Lincoln's political genius, as the one-term congressman and prairie lawyer rises from obscurity to prevail over three gifted rivals of national reputation to become president. Team of Rivals was awarded the prestigious Lincoln Prize, the inaugural Book Prize for American History, and Goodwin in 2016 was the first historian to receive the Lincoln Leadership Prize from the Abraham Lincoln Presidential Library Foundation. The film Lincoln grossed $275 million at the box office and earned 12 Academy Award® nominations, including an Academy Award for actor Daniel Day-Lewis for his portrayal of President Abraham Lincoln. Goodwin was awarded the Pulitzer Prize in history for No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II, and is the author of the best sellers Wait Till Next Year, Lyndon Johnson and the American Dream and The Fitzgeralds and the Kennedys, which was adapted into an award-winning five-part TV miniseries. -
1 Balz Engler Poetry and Performance: the Case of Vachel Lindsay The
1 Balz Engler, “Poetry and Performance: The Case of Vachel Lindsay”. Anglistentag 1982 Zürich: Vorträge. Ed. Udo Fries and Jörg Hasler. Giessen: Hoffmann, 345-58 Balz Engler Poetry and Performance: The Case of Vachel Lindsay The power of print over literary criticism is still so great that all the verbal arts, with the partial exception of drama, are commonly considered in terms of reading -- the silent interaction between a fixed text and an individual. The power of print has been so strong that it has even affected what is left of the art of performing poetry. It has given us the poetry reading, in which the book is the central object, placed between reader and audience. It has given us the reader who speaks with a flat intonation, almost monotonously, and who avoids eye contact with his audience; and it has also given us listeners who turn their glance inwards, sitting motionless, individuals in medita- tion. This, one might say, is the closest the performance of poetry can get to becoming an imitation of reading a book. Under these circumstances, other types of performance, including singing, gesturing and audience participation, have remained an embarrassing Problem to critics, one that can best be dealt with by excluding them from the realm of literature. The reception of Vachel Lindsay is a case in point. T.S. Eliot found him "impossible" after hearing him perform (Perkins 353), and Ezra Pound, who acknowledged his originality, criticized the craftsmanship of his poetry: "Believe 'me one can write it by the hour as fast as one scribbles." (54) Already during his lifetime Lindsay found it difficult to be taken seriously by students of literature, as Henry Seidel Canby's report on a performance at Yale indicates: The nice boys from the ivory towers of the best schools and the Gothic dormitories of Yale tittered at first. -
Carl Sandburg Home U.S
National Park Service Carl Sandburg Home U.S. Department of the Interior Carl Sandburg Home National Historic Site Something About Sandburg A National Park Service Curriculum-Based Program for Middle Schools Dear Educator, Thank you for making reservations for the Something About Sandburg middle school program at the Carl Sandburg Home National Historic Site, the first such site to honor an American poet. This 240- acre estate epitomizes the simplicity of life enjoyed by the Sandburgs for 22 years in Flat Rock, North Carolina. Below you will find a list of ways to make your time here as enjoyable as the Sandburg’s: Confirmation: This confirmation must be sent back two weeks prior to the reserved date or the date will be forfeited. Time: Please arrive at least 30 minutes before the first scheduled tour time on your agenda. In order to avoid program delays or cancellations, your group must be at the designated starting point on time. Arrival: Upon arriving at the park there will be a ranger or volunteer to meet your group and escort the group to the amphitheater for an introduction. *ATTENTION: The walk up the hill to the house is 0.3 miles; ascending 100feet of moderately steep terrain. Late Arrival: Arrival at the main parking lot 20 minutes or less before your first scheduled event will result in a forfeiture of that component of the program. Cancellations: If you must cancel your program, please notify the park at (828) 693- 4178 as soon as possible, giving another group the chance to reserve the date. -
Carl Sandburg High School Orland Park, Illinoin Class
CARL SANDBURG HIGH SCHOOL ORLAND PARK, ILLINOIN CLASS OF 1965 CARL SANDBURG HIGH SCHOOL, ORLAND PARK, IL CLASS OF 1965 50TH REUNION JULY 17 & 18, 2015 Row 6 George Walker, Dave Chandler, Bob Nienhouse, Dick Weber, Charlie Becker, Don Bettenhausen, Jim Leatzow, Fred Meier, Carl Bormet, John Smilde, Roy Butera, Tom DiGenova, Bruce Hyink Row 5 Phil Aliano, Jeff Bodwin, Tom Bellik, Gerri (Larkin) Riley, Jan (Chivers) Ruehle, Bill Teigler, Bob Baker, Phil Blowney, Larry Cobden, Gary Schneider, Doug Connell, Cindy (Cooper) Thomson, Jim Harty, Ron Cogswell Row 4 Dick Kilroy, Dale Rodriquez, Annette (Zarrow) Linn, Chuck Compher, Jeanette (Herrman) Johnson, Darlene (Heatherwick) Blanz, Renee (Woelke) Wallace, Carole Wennerberg, Diane (Engler) Meier, Bill Vanberschot, Barb (Heinen) Tipswood, Jim Potter, Tony Lamantia, Roland Roth, Ken Griga Row 3 Bob Busch, Brian Dolan, Susan (Atkenson) Halbach, Eileen (Walker) McGraw, Peggy (Fitzpatrick) Glim, Nancy (Gunning) Hansen, Carol (Heim) Malsbary, Dee (Dieterle) Levenson, Carol Carlson, Chris (Lysek) Muldoon, Sara (Aguiler) Dutton, Roy Johnson, Sue (Hitz) Burke, Cynthia (Sykora) Borman, Giff Ewers Row 2 George DePeder, Pat (Miller) Savigne, Mary Ann Hansen, Rosemarie Ricci, Sue (Flint) Greer, Candy (Pettit) Bristol Judy Dain, Valerie Langdon, Patty (Lovitt) Riley, Peggy Baggio, Sue (Carr) Ewers, Marsha (Makaroff) Norskog, Tony Molitor, Rusy Mitcheff, Cindy (Geiger) Lind, Bob Hunnewell, Carol (Fry) White, Roger Burke Row 1 Donna (Nicolai) Schulz, Jonell (Ducharm) Richard, Beth (Doctor) Sueflow, Kathy (DeNovo) -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Langston Hughes by Library of Congress and National Park Service, Adapted by Newsela Staff on 02.27.17 Word Count 879
Authors: Langston Hughes By Library of Congress and National Park Service, adapted by Newsela staff on 02.27.17 Word Count 879 Langston Hughes photographed by Carl Van Vechten, 1936. Photo from the Library of Congress Synopsis: Langston Hughes was born in Joplin, Missouri, in 1902. He is one of the most important writers and thinkers of the Harlem Renaissance. This was an artistic movement in 1920s New York that celebrated African-American life and culture. Through his poetry, novels, plays, essays and children's books, Hughes promoted equality, condemned racism and became a celebrated voice of black culture, humor and spirituality. Early Years Hughes' childhood was one of frequent change and exposure to people of many backgrounds. He was born in 1902 in Joplin, Missouri, but his parents separated when he was very young. His father moved to Mexico, and his mother left him for long periods in search of steady employment. Hughes' grandmother raised him in Lawrence, Kansas, until he was 12. He later lived with his mother and stepfather in Illinois and Ohio. Hughes began writing creatively in high school, exploring his experiences and feelings in poetry. The year 1921 was a pivotal one for Hughes. He traveled to Mexico to be with his father and teach English in Mexican schools. While traveling on a train, he wrote his first significant poem, "The This article is available at 5 reading levels at https://newsela.com. Negro Speaks of Rivers." The poem was published in "The Crisis," a magazine of the National Association for the Advancement of Colored People, the leading civil rights organization in the United States. -
Chronology of the Department of Photography
f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator.