Word: whitmanic
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Technically in the tradition of Hart Crane and Whitman, these poems rely almost entirely upon the forceful phrase for their effect. Brinnin displays an unparalled gift for shaping the everyday word into a biting, meaningful symbol, and the use of sharp contrast adds force to this verse. If his meter seems colorless, it must be remembered that many of these poems were designed for the use of creative dance groups and thus gain force if read aloud. One may hope that in the future Mr. Brinnin's metrical talent will develop alongside his gift for the phrase, and that...
...democracy is, what we are fighting for." So first he telephoned Jerome Kern in Beverly Hills. Kern, who has been a Mark Twain enthusiast since boyhood (the first book he ever owned was Huckleberry Finn), jumped at the idea of a Mark Twain portrait. Copland wanted to do Walt Whitman in music, but was persuaded to tackle Lincoln. Virgil Thomson was best suited to his particular assignments. Since 1928 he has been composing musical portraits, sketching out his music (as a painter would) while the subject poses...
...Esquire, in a setting of Esquire color or off-color cartoons. Komroff himself, like Sholem Asch, is not a Christian. He was born in Manhattan of Jewish parentage, is married to a Gentile, attends neither church nor synagogue but Ts described by friends as "deeply religious like Walt Whitman...
Varsity: Curwen, stroke; Challinor, 7; Whitman, 6; Lyman, 5; Erskine, 4; Andrews, 3; Richardson, 2; Jenks, bow; Boynton...
...Saturday the Varsity lined up with lightweight Tommy Boynton as coxswain, Bus Curwen at stroke, Dave Challinor at seven, Hallett Whitman at six, and Captain Ted Lyman at five. The bow four, however, was greatly altered. Johnny Erskine had moved from his usual two slide to number four. Scho Andrews, out of last spring's '44 eight, took over the number three seat, and Juniors Johnny Richardson and Pop Jenks accounted for the two bow positions...