Amy Lowell (1874–1925), American poet and critic, was one of the most influential and best-known writers of her era. Within a thirteen-year period, she produced six volumes of poetry, two volumes of criticism, a two-volume biography of John Keats, and countless articles and reviews that appeared in many popular periodicals. As a herald of the New Poetry, Lowell saw herself and her kind of work as a part of a newly forged, diverse, American people that registered its consciousness in different tonalities but all in a native idiom. She helped build the road leading to the later works of Allen Ginsberg, May Sarton, Sylvia Plath, and beyond. Except for the few poems that invariably appear in American literature anthologies, most of her writings are out of print. This will be the first volume of her work to appear in decades, and the depth, range, and surprising sensuality of her poems will be a revelation. The poetry is organized according to Lowell’s characteristic forms, from traditional to experimental. In each section the works appear in chronological order. Section one contains sonnets and other traditional verse forms. The next section covers her translations and adaptations of Chinese and Japanese poetry, whereby she beautifully renders the spirit of these works. Also included here are several of Lowell’s own Asian-influenced poems. Lowell’s free, or cadenced verse appears in the third part. The last section provides samples of Lowell’s polyphonic prose, an ambitious and vigorous art form that employs all of the resources of poetry. The release of The Selected Poems of Amy Lowell will be a major event for readers who have not been able to find a representative sampling of work from this vigorous, courageous poet who gave voice to an erotic, thoroughly American sensibility.
Author
A leader of the imagists, American poet Amy Lawrence Lowell wrote several volumes, including Sword Blades and Poppy Seed (1914), of poetry. A mother bore Amy into a prominent family. Percival Lowell, her brother and a famous astronomer, predicted the existence of the dwarf planet Pluto; Abbott Lawrence Lowell, another brother, served as president of Harvard University. The Lowell family deemed attendance at college not proper for a woman, so she instead compensated with her avid reading, which led to nearly obsessive book collecting. She lived as a socialite and travelled widely; after being inspired by a performance of Eleonora Duse in Europe inspired her, she turned to poetry in 1902. Her first published work appeared in 1910 in Atlantic Monthly. People apparently first published A Dome of Many-Coloured Glass , collection of her poetry, in 1912. In 1912, rumors swirled that supposedly lesbian Lowell reputedly lusted after actress Ada Dwyer Russell, her patron. Her more erotic work subjected Russell. The two women traveled together to England, where Lowell met Ezra Pound, a major influence at once and a major critic of her work. Writer Mercedes de Acosta romantically linked Lowell despite the brief correspondence about a memorial for Duse that never took place, the only evidence that they knew each other. Lowell, an imposing figure, kept her hair in a bun and wore a pince-nez. She smoked cigars constantly, claiming that they lasted longer than cigarettes. A glandular problem kept her perpetually overweight, so that poet Witter Bynner once said, in a cruel comment repeated by Ezra Pound and thereafter commonly misattributed to him, that she was a "hippopoetess." Her writing also included critical works on French literature and a biography of John Keats. Lowell's fetish for Keats is well-recorded. Pound, amongst many others, did not think of her as an imagist but merely a rich woman who was able to financially assist the publication of imagist poetry, which became weak after Pound's "exile" towards Vorticism. Lowell was an early adherent to the "free verse" method of poetry. Lowell died of a cerebral hemorrhage in 1925 at the age of 51. The following year, she was awarded the Pulitzer Prize for Poetry for What's O'Clock. Forgotten for years, there has been a resurgence of interest in her work, in part because of its focus on lesbian themes and her collection of love poems addressed to Ada Dwyer Russell, but also because of its personification of inanimate objects, such as in The Green Bowl, The Red Lacquer Music Stand, and Patterns.
