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In this new volume, Miss Millay shows herself an ardent lover of life and beauty. Here, in a matchless sonnet sequence, is enshrined the quintessence of her emotional and artistic power. She brings to the classic form new color and new splendor. Here are sonnets from Millay's most popular period. Woman of Today labelled Millay as the "outstanding young poet" of her time.
In this newest addition to Sandra M. Gilbert’s Ad Feminam: Women and Literature series, Diane P. Freedman brings together twelve essays by critics of poetry and women’s writing for a critical reappraisal of the prolific work of Edna St. Vincent Millay. Though finding its occasion in the life of Millay—the centennial of the writer’s birth—this volume refocuses attention on Millay’s art by asking questions central to our present concerns: What in the varied body of Millay’s work speaks to us most forcefully today? Which critical perspectives most illuminate her texts? How might those approaches be challenged, extended, or reoriented? In seeking the answers to such questions, the volume’s contributors illuminate the means by which Millay’s early success has been slighted and misunderstood and examine issues of personality, personae, critical stature, and formal experimentation in Millay’s various genres: lyric poetry, the sonnet, verse drama, fiction, and the personal letter. In 1920, following the publication of A Few Figs from Thistles, Millay was the "It girl" of American poetry. But by the late 1930s, her popularity waned as her critical reputation declined under the reign of high modernism and its critics. In fact, Millay, like others of her generation, had rejected modernist elitism in favor of public engagement, using her powerful public voice to plead for an end to the Sacco-Vanzetti trials as well as for U.S. entry into World War II. Condemned for both her politicizing and her political poetry, she was the first to admit that she and her poetry suffered in the service of public causes. Grouped into four parts, these essays focus on Millay’s relation to modernism, her revisionary perspectives on love, her treatment of time and of the female body, and her use of masquerade and impersonation in life and in art. Throughout, the essayists pose such questions as: Where is Millay’s place in the literary histories of modern writing and in our hearts? How are we to value, interpret, and characterize the various forms and genres in which she wrote? What is the cultural work Millay achieves and reflects? How does she help us redefine modernism? What do Millay’s great gifts enable us to see about genre, the social construction of gender, the definition of modernism, and the role of the poet? Millay’s considerable productivity, the range and virtues of her forms, and her experimentation clearly argue for a wide-ranging reappraisal of her work.
A noted biographer and poet illuminates the unique woman who wrote the greatest American love poetry of the twentieth century What Lips My Lips Have Kissed is the story of a rare sort of American genius, who grew up in grinding poverty in Camden, Maine. Nothing could save the sensitive child but her talent for words, music and drama, and an inexorable desire to be loved. When she was twenty, her poetry would make her famous; at thirty she would be loved by readers the world over. Edna St. Vincent Millay was widely considered to be the most seductive woman of her age. Few men could resist her, and many women also fell under her spell. From the publication of her first poems until the scandal over Fatal Interview twenty years later, gossip about the poet's liberated lifestyle prompted speculation about who might be the real subject of her verses. Using letters, diaries and journals of the poet and her lovers that have only recently become available, Daniel Mark Epstein tells the astonishing story of the life, dedicated to art and love, that inspired the sublime lyrics of Edna St. Vincent Millay.
Millay's first three books of lyrics and sonnets are collected here: Renascence, Second April, and A Few Figs from Thistles. With a balanced and appreciative introduction and useful annotations, this volume presents some of the Pulitzer Prize-winning poet's best work in which she weaves intellect, emotion, and irony. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Since the founding of the United States, women have picked up their pens to write and express their ideas, affording them independence and self-sufficiency in days when they had little. By way of their poetry, essays, advice columns, investigative journalism and more, women like Helen Keller, Louisa May Alcott, Charlotte Perkins Gilman and Shirley Jackson wrote not only to entertain and inform, but often to simply keep a roof over their heads. This text offers a unique examination of female New England writers, focusing on their homes. The women wrote in many genres and became literary entrepreneurs, bargaining with editors for higher fees and royalties, participating in marketing campaigns, and seeking advice and help. The homes women bought with their earnings included cottages, suburban houses, farms, and an occasional mansion. Whether modest or luxurious, these houses provided the "room of her own" that Virginia Woolf said every woman needs in order to write. Sometimes that room was an elegant study, and sometimes a corner of the kitchen.
“What an achievement, these sixty years of poetry! In whatever terms we Americans regard the rest of our recent history, the score of things done well and done ill, this much at least we have done superlatively.”—Hayden Carruth This famous anthology includes the works of more than 130 major American poets of the modern period—Robert Frost, Paul Goodman, Carl Sandburg, T.S. Eliot, Ezra Pound, Allen Ginsberg, and Gwendolyn Brooks among them—along with short biographies of each. “Not only the best on its period, I think, but is even perhaps safe from the competition of rivals.”—Robert Lowell
A multidisciplinary analysis of how state capture unfolded in South Africa and was contested within both civil society and the state itself. It presents a scholarly and empirical understanding of how things went awry, even with various regulating bodies in place, and how to prevent state capture from happening again in the future. The metaphor of ‘state capture’ has dominated South Africa’s political discourse in the post-Zuma presidency era. What is state capture and how does it manifest? Is it just another example of a newly independent, failed African state? And is it unique to South Africa? The contributors in this collection try to explain the phenomenon from a variety of viewpoints and disciplines. All hold fast to the belief that the democracy that promised the country so much when apartheid ended has been significantly eroded, resulting in most citizens expressing a loss of hope for the future. Read together, the essays cumulatively show not only how state capture was enabled and who benefitted, but also how and by whom it was scrutinised and exposed in order to hold those in power accountable. The book aims to present a scholarly and empirical understanding of how things went awry, even with various regulating bodies in place, and how to prevent state capture from happening again in the future.
Uneasy Alliance illuminates the recent search in literary studies for a new interface between textual and contextual readings. Written in tribute to G.A.M. Janssens, the twenty-one essays in the volume exemplify a renewed awareness of the paradoxical nature of literary texts both as works of literary art and as documents embedded in and functioning within a writer’s life and culture. Together they offer fresh and often interdisciplinary perspectives on twentieth-century American writers of more or less established status (Henry James, Edna St. Vincent Millay, E.E. Cummings, Vladimir Nabokov, Flannery O’Connor, Saul Bellow, Michael Ondaatje, Toni Morrison and Sandra Cisneros) as well as on those who, for reasons of fashion, politics, ideology, or gender, have been unduly neglected (Booth Tarkington, Julia Peterkin, Robert Coates, Martha Gellhorn, Isabella Gardner, Karl Shapiro, the young Jewish-American writers, Julia Alvarez, and writers of popular crime and detective fiction). Exploring the fruitful interactions and uneasy alliance between literature and ethics, film, biography, gender studies, popular culture, avant-garde art, urban studies, anthropology and multicultural studies, together these essays testify to the ongoing pertinence of an approach to literature that is undogmatic, sensitive and sophisticated and that seeks to do justice to the complex interweavings of literature, culture and biography in twentieth-century American writing.