Bücher veröffentlicht von Public Domain Press

Sadakichi Hartmann - Drifting Flowers & Other VersesPublic Domain Poets #10 | Publicdomainpoets.comContaining Sadakichi Hartmann's 'Tanka & Haikai: Japanese Rhythms' (1915); selections from 'My Rubaiyat' (1913), and the earlier, 'Drifting Flowers of the Sea' (1904); and the essays 'Why I Publish My Own Books' (1915) and 'The Japanese Conception of Poetry' (1904). New edition designed, edited, and selected by Dick Whyte. If pleasures be mineAs aeons and aeons roll by,Why should I repineThat under some future skyI may live as a butterfly.Hartmann (1867-1944) was born on the island of Dejima, off the coast of Nagasaki, to a Japanese mother and German father. His mother died giving birth to his brother, and they were sent to Germany to live with relatives. Hartmann later ran away to Paris, was disinherited by his father, and sent to Philadelphia, to live with an uncle. It was there he self-published his first dramatic works, and a book of conversations with Walt Whitman.White petals afloatOn a winding woodland stream-What else is life's dream?In the 1900s Hartmann started writing poetry, drawing influence from Whitman, French symbolism, and Japanese poetics, and in 1904 he published the earliest known set of English-language tanka, alongside a short essay on tanka and haiku aesthetics. In the 1910s he followed this up with a collection of linked tanka-esque blank-verse, inspired by the Rubaiyat of Omar Khayyam, and befriended writers like Gertrude Stein and Ezra Pound. Hartmann's 'Japanese Rhythms' (1916), remains one of the earliest published collections devoted to English-language tanka and haikai, followed by Noguchi's 'Japanese Hokkus' (1920), and Jun Fujita's 'Tanka: Poems in Exile' (1923).Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Marie Tudor Garland - Songs For Women & Other VersesPublic Domain Poets #9 | Publicdomainpoets.comSelections from Marie Tudor Garland's 'The Potter's Clay' (1917), 'The Winged Spirit' (1918), and 'The Marriage Feast' (1920), never before anthologised. New edition designed, edited, and selected by Dick Whyte.The sun is low,Shadows from the trees beyond the trailAcross the meadow,-The closing of another day.And life still beyond the hills.Marie Tudor (1870-1945) was the great-granddaughter of Judge William Tudor, State Senator and Secretary of the Commonwealth of Massachusetts, and granddaughter of Frederic Tudor, Boston's 'Ice King' and founder of the Tudor Ice Company. While from a conservative wealthy family, she was educated at Radclife College, a liberal women's arts college, and local newspapers once described her as a "not so proper Bostonian."When dawn cameFleecy clouds caught the sunrise,Nature, dripping from last night's rain,Sparkled in the sunlight.Everything in me hungered for life.Garland began publishing experimental 'free verse' in the late-1910s, and moved to Santa Fe, where she was known for hosting "wild parties" at the Swan Lake Ranch, attended by the likes of Georgia O'Keefe and D.H. Lawrence. Kahlil Gibran also stayed with her in 1918, and reportedly had a 'glorious time'.Love which holds backSomething in reserveWill never knowThe joy of giving,The joy of constant death.Garland was also a committed feminist, and in 1920 attended the Eighth Congress of the International Women's Sufrage Alliance, writing that "it seemed to hold more hope for the world than any international gathering in history." After the death of her first husband, Garland married numerous times, and adopted more than 20 children over her life.The loveI loved you withIs God.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Sappho - Love Songs & Other FragmentsPublic Domain Poets #15 | Publicdomainpoets.comSappho (c. 630-570 B.C.) was born into a wealthy family from the island of Lesbos, and is said to have had 3 brothers. She probably took up poetry early in life, and would go on to be one of the most highly regarded lyric poets of her time. This collection brings together a generous helping of her surviving fragments, translated by James Easby-Smith (1891) & Edward Storer (1919), alongside a selection of others from various sources (1885-1924), with a 'Foreword' by Edward Storer. New edition designed and edited by Dick Whyte.The moon has set and the PleiadesHave gone.It is midnight; the hours pass; and ISleep alone.Sappho was exiled to Sicily around 600 BC, but continued to write until around 570 BC. While known to be a prolific poet, much of her work was later destroyed by the Church, in large part because her love poetry was addressed to women:- some 10,000 lines reduced to fragments. It was translations of these incomplete verses, and specifcally their (unintentional) fragmentation, which would go on to influence early 'free verse' and Imagist poets, including Edward Storer, H.D., Amy Lowell, Marie Tudor Garland (et al.).Love shakes my soul.So do the oak-trees on the mountainShake the wind.Storer, a founding member of one of the earliest English-language 'free verse' circles, went on to publish his own translations of Sappho's fragments in 1915, seemingly drawing on English-language versions of Japanese tanka and haikai as models. Other well-known translations at the time included Henry Wharton (1885), James Easby-Smith (1891), J.R. Tutin (1903), etc.Divine shell,Your song.Public Domain Press is dedicated to producing new editions of out-of-print poetry, particularly with regard to compressed & fragmented 'free verse' from the late-1800s & early-1900s. All poems start as facsimiles - to preserve original fonts - which are cleaned up, edited, and spaciously laid-out, adorned with illustrations, and ornaments from the books and magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Iris Barry - Impressions & StudiesPublic Domain Poets #8 | Publicdomainpoets.comContaining almost all of Iris Barry's published poetry from the 1910s and 20s, never before anthologised. New edition designed, edited, and selected by Dick Whyte.At night my mother sits uncorsetedAnd with tired gestures combs her long hair.Her head shines in the gaslight,And she yawns, dropping many hair-pinsAs she goes upstairs.Iris Barry (1895-1969) was born in Birmingham, England, and studied at the Ursulines convent in Belgium. Barry began writing and publishing poetry as early as 1914, already in the 'free verse' style. Ezra Pound read her work in Poetry in 1916, and offered to publish some of her poems, and in 1917 she moved to London to study with Pound. Once there Barry attended Imagist gatherings - attended by H.D., Richard Aldington, T.S. Elliot (et al.) - and regularly published poetry between 1916 and 1924.At nightNeither joy, ambition, love nor wantIn my heart.But the leaves calledAnd the earth called,And there was only waitingAgainst the coming of rain,And the whipping of hairAbout my head.Barry also wrote a novel, Splashing into Society, in 1923; and wrote film criticism for The Spectator and The Daily Mail, around the same time. After 1925 Barry stopped writing poetry, and focussed solely on film criticism. She would go on to co-found the Film Society of London with Ivor Montagu in 1925, and write one of the early classics of English-language film theory, Let's Go To The Movies, in 1926; becoming one of the most widely read film critics of the 1920s. Barry moved to America in 1930, and founded the film department at the newly opened Museum of Modern Art in New York, and worked as a book reviewer for the New York Times.Through the day, meekly,I am my mother's child.Through the night riotouslyI ride great horses . . .Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Adelaide Crapsey - Cinquains & Other VersePublic Domain Poets #6 | Publicdomainpoets.com'Cinquains & Other Verse' contains a generous selection of Adelaide Crapsey's cinquains, and various other poems, originally published posthumously in 'Verse' (1915), with a preface by Jean Webster, and William Stanley Braithwaite. New edition designed, edited, and selected by Dick Whyte.Every day,Every day,Tell the hoursBy their shadows,By their shadows.Adelaide Crapsey (1878-1914) was born and raised in Brooklyn, New York, and attended Vassar College, where she was class poet three years in a row. After graduating, Crapsey taught history & literature at Kemper Hall in Wisconsin, and then studied at the School of Archaeology in Rome.I knowNot these my handsAnd I think there wasA woman like me once had handsLike these.Around this time, she began writing 'free verse', drawing inspiration from the French 'vers libre', Japanese hokku and tanka, and the work of Yone Noguchi, among other things. This inspired Crapsey to develop an English-language 5-line poetic form called the 'cinquain', modeled in part on tanka, which led to some of her most memorable verses (written 1911-13).Listen . . .With faint dry sound,Like steps of passing ghosts,The leaves, frost-crisp'd, break from the trees,And fall.Unfortunately, Crapsey's life was plagued with illness, and she died in 1914 at the age of 36. While leaving behind a single slim volume of poetry, Crapsey's terse, unrhymed poems would go on to inspire a number of poets central to the post-1913 'new verse' movement, including Marianne Moore, Lola Ridge, Yvor Winters, and Carl Sandburg (et al.).These beThree silent things:The falling snow . . . the hourBefore the dawn . . . the mouth of oneJust dead.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Mary Caroline Davies - Songs of a Girl & Other VersesPublic Domain Poets #4 | Publicdomainpoets.com'Songs of a Girl & Other Verses' brings together over 100 of Mary Carolyn Davies' unrhymed verses, including the 29 song sequence 'Songs of a Girl' (first published 1919), the 24 song sequence 'Songs' (1917), and a generous selection of other song sequences, verses, and variants (originally published from 1914-1920), none of which have been anthologised before. New edition designed, edited, and selected by Dick Whyte.The sun fallsLike a drop of bloodFrom some hero.We,Who love pain,Delight in this.Mary Carolyn Davies was a poet from Oregon, born in Sprague, and later attended Berkley University. She left college after only a year, and moved to Greenwich Village, meeting poets and artists like Marianne Moore, Alfred Kreymborg, and Marcel Duchamp, among others. Best known for her rhymed verses, Davies was also an early practitioner of 'free verse', and wrote numerous unrhymed 'song' sequences, first published in Kreymborg's 'Others: A Magazine of the New Verse' (1915-1919). Davies' unrhymed verse was largely composed in compressed and fragmented forms, such as the couplet;I am going to die too, flower, in a little while-Do not be so proud.The triplet;Red as dawnThe apple petals burnAgainst my burning cheek.And the quartet and quintet;The moonStrikes my handAcross my face as I lie.And the pain of itKeeps me from sleeping.Davies' verse also explores feminist and queer themes, particularly in the sequence 'Songs' (1916 version), clearly addressed to another woman, in which Davies writes such powerful lines as;Give me your lips-I would live-Your eyes are two miracles;And I, who have seen them,Believe.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Yone Noguchi - Japanese Hokku & Other VersesPublic Domain Poets #5 | Publicdomainpoets.comOver 100 of Yone Noguchi's English-language haiku (then called hokku), and haikai and tanka-influenced 'free verse' (published from 1896-1920), as well as numerous excerpts from his essays and lectures on hokku and poetics, little of which has been anthologised before. New edition designed, edited, and selected by Dick Whyte.Behold the sky where the cuckoo sang,-There remains the morning moon.Behold the world where life cried,-There remains poetry.Noguchi moved to America in 1893, worked as a journalist, and then went to live with the poet Joaquin Miller, and began writing poetry. While English poetry was predominantly rhymed, Noguchi wrote unrhymed verse, taking influence from Japanese forms like haikai and tanka. Noguchi wrote the earliest known English-language haiku, and was one of the earliest English-language poets to write entirely in 'free verse', after Walt Whitman. He also encouraged Western poets to take up haiku and tanka, writing numerous articles, and publishing 2 well-known books of essays, on hokku, tanka, and poetics.Today the dripping rains are my comrades.Their songs are the songs of my soul-The songs of love and dreams.Where will the rains go?Where will my soul go?As 'Poetry' magazine would write in 1919: "Looking back on them now, one can see how directly they forecast the modern movement. They were in free verse - in the 1890s! - they were condensed, suggestive, full of rhythmical variations." Noguchi's work would go on to influence numerous significant poets of the post-1913 'new verse' movement, including Adelaide Crapsey, Amy Lowell, Ezra Pound, John Gould Fletcher, Lewis Alexander, E.E. Cummings (et al.).Is there anything new under the sun?Certainly there is.See how a bird flies, how flowers smile!Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.