Word: poetesses
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Dates: during 1940-1949
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Last week in Manhattan another such laborious job was put on the market. Its text consisted of a long, symbol-stuffed poem by plane-piloting Poetess Muriel Rukeyser, on the life and modern significance of bearded U. S. Abolitionist John Brown, coupled with verses from the Civil War folk song John Brown's Body. Scattered through the carefully etched text were some 40 meticulous illustrations by Austrian refugee Baron Rudolf Charles von Ripper (TIME, Jan. 2, 1939), who had engraved the entire book by hand...
Weedy, bucktoothed, wild-eyed Baron von Ripper, who gave Poetess Rukeyser the idea for her poem, had worked at his book with the zeal of a medieval monk. A Catholic socialist who had spent months in Nazi concentration camps, von Ripper knew persecution at first hand. He filled his book with floggings, cadaverous nudes, autopsical goons, who hacked and bled through its pages with all the angular bleakness of rigor mortis. Three of his pages had to be done over because of small typographical errors. It took him two years of patient etching and hand-printing to turn...
...ballet in half, gave the Dr. Jekyll half to a pleasant, domestic-looking chorine who recited excerpts from Emily Dickinson's hard-bitten verse. The frustrated, poetic, aspiring, cockeyed half she reserved for herself, danced it with a bevy of bouncing males that would have driven prim Poetess Dickinson to a sanatorium. When she was through, her intellectual audience broke into sobs and cheers. Whether or not any dancer's exterior can plausibly represent a poet's interior, Martha Graham had put on a good show...
...final chapter, Second March, Critic Brooks forecasts a second flowering of New England. He sees its seeds in the life and works of late great Poetess Amy Lowell, Conrad Aiken, Edna St. Vincent Millay, Eugene O'Neill, and especially Robert Frost, whose function, thinks Critic Brooks, is "to mediate between New England and the mind of the rest of the nation." This chapter reads like an afterthought. Critic Brooks's task was finished before he wrote it. His task was to create an intellectual tradition that could feed the newly emerging U. S. cultural nationalism...
...Montana's Wheeler in the Senate (see p. 75), Charles Lindbergh on the air detected and resisted a drift toward total U. S. war. Nearer the core of U. S. fear and feeling was Poetess Edna St. Vincent Millay, writing in the New York Times...