It is as if a dozen unacademic
painters, separated by temperament and distance, were to arrange to have
an exhibition every two years of their latest work.
painters, separated by temperament and distance, were to arrange to have
an exhibition every two years of their latest work.
American Poetry - 1922
J.
A FOREWORD
When the first Miscellany of American Poetry appeared in 1920,
innumerable were the questions asked by both readers and reviewers of
publishers and contributors alike. The modest note on the jacket
appeared to satisfy no one. The volume purported to have no editor, yet
a collection without an editor was pronounced preposterous. It was
obviously not the organ of a school, yet it did not seem to have been
compiled to exploit any particular phase of American life; neither
Nature, Love, Patriotism, Propaganda, nor Philosophy could be acclaimed
as its reason for being, and it was certainly not intended, as has been
so frequent of late, to bring a cheerful absence of mind to the
world-weary during an unoccupied ten minutes. Again, it was exclusive
not inclusive, since its object was, evidently, not the meritorious if
impossible one of attempting to be a compendium of present-day American
verse.
But the publisher's note had stated one thing quite clearly, that the
Miscellany was to be a biennial. Two years have passed, and with the
second volume it has seemed best to state at once the reasons which
actuated its contributors to join in such a venture.
In the first place, the plan of the _Miscellany_ is frankly imitative.
For some years now there has been published in England an anthology
entitled Georgian Poetry. The Miscellany is intended to be an American
companion to that publication. The dissimilarities of temperament, range
and choice of subjects are manifest, but the outstanding difference is
this: _Georgian Poetry_ has an editor, and the poems it contains may be
taken as that editor's reaction to the poetry of the day. The
_Miscellany_, on the other hand, has no editor; it is no one person's
choice which forms it; it is not an attempt to throw into relief any
particular group or stress any particular tendency. It does disclose the
most recent work of certain representative figures in contemporary
American literature. The poets who appear here have come together by
mutual accord and, although they may invite others to join them in
subsequent volumes as circumstance dictates, each one stands (as all
newcomers also must stand) as the exponent of fresh and strikingly
diverse qualities in our native poetry.
It is as if a dozen unacademic
painters, separated by temperament and distance, were to arrange to have
an exhibition every two years of their latest work. They would not
pretend that they were the only painters worthy of a public showing;
they would maintain that their work was, generally speaking, most
interesting to one another. Their gallery would necessarily be limited;
but it would be flexible enough to admit, with every fresh exhibit,
three or four new members who had achieved an importance and an idiom
of their own. This is just what the original contributors to the
_Miscellany_ have done.
The newcomers--H. D. , Alfred Kreymborg, and Edna St. Vincent
Millay--have taken their places with the same absence of judge or jury
that marks any "society of independents. " There is no hanging committee;
no organizer of "position. " Two years ago the alphabet determined the
arrangement; this time seniority has been the sole arbiter of
precedence. Furthermore--and this can not be too often repeated--there
has been no editor. To be painstakingly precise, each contributor has
been his own editor. As such, he has chosen his own selections and
determined the order in which they are to be printed, but he has had no
authority over either the choice or grouping of his fellow exhibitors'
contributions. To one of the members has been delegated the merely
mechanical labors of assembling, proof-reading, and seeing the volume
through the press. The absence of E. A.
A FOREWORD
When the first Miscellany of American Poetry appeared in 1920,
innumerable were the questions asked by both readers and reviewers of
publishers and contributors alike. The modest note on the jacket
appeared to satisfy no one. The volume purported to have no editor, yet
a collection without an editor was pronounced preposterous. It was
obviously not the organ of a school, yet it did not seem to have been
compiled to exploit any particular phase of American life; neither
Nature, Love, Patriotism, Propaganda, nor Philosophy could be acclaimed
as its reason for being, and it was certainly not intended, as has been
so frequent of late, to bring a cheerful absence of mind to the
world-weary during an unoccupied ten minutes. Again, it was exclusive
not inclusive, since its object was, evidently, not the meritorious if
impossible one of attempting to be a compendium of present-day American
verse.
But the publisher's note had stated one thing quite clearly, that the
Miscellany was to be a biennial. Two years have passed, and with the
second volume it has seemed best to state at once the reasons which
actuated its contributors to join in such a venture.
In the first place, the plan of the _Miscellany_ is frankly imitative.
For some years now there has been published in England an anthology
entitled Georgian Poetry. The Miscellany is intended to be an American
companion to that publication. The dissimilarities of temperament, range
and choice of subjects are manifest, but the outstanding difference is
this: _Georgian Poetry_ has an editor, and the poems it contains may be
taken as that editor's reaction to the poetry of the day. The
_Miscellany_, on the other hand, has no editor; it is no one person's
choice which forms it; it is not an attempt to throw into relief any
particular group or stress any particular tendency. It does disclose the
most recent work of certain representative figures in contemporary
American literature. The poets who appear here have come together by
mutual accord and, although they may invite others to join them in
subsequent volumes as circumstance dictates, each one stands (as all
newcomers also must stand) as the exponent of fresh and strikingly
diverse qualities in our native poetry.
It is as if a dozen unacademic
painters, separated by temperament and distance, were to arrange to have
an exhibition every two years of their latest work. They would not
pretend that they were the only painters worthy of a public showing;
they would maintain that their work was, generally speaking, most
interesting to one another. Their gallery would necessarily be limited;
but it would be flexible enough to admit, with every fresh exhibit,
three or four new members who had achieved an importance and an idiom
of their own. This is just what the original contributors to the
_Miscellany_ have done.
The newcomers--H. D. , Alfred Kreymborg, and Edna St. Vincent
Millay--have taken their places with the same absence of judge or jury
that marks any "society of independents. " There is no hanging committee;
no organizer of "position. " Two years ago the alphabet determined the
arrangement; this time seniority has been the sole arbiter of
precedence. Furthermore--and this can not be too often repeated--there
has been no editor. To be painstakingly precise, each contributor has
been his own editor. As such, he has chosen his own selections and
determined the order in which they are to be printed, but he has had no
authority over either the choice or grouping of his fellow exhibitors'
contributions. To one of the members has been delegated the merely
mechanical labors of assembling, proof-reading, and seeing the volume
through the press. The absence of E. A.
