Middy Brown Journal II - In Due Season (Middy Brown Journals print and Kindle format Book 2)

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Life of Benjamin Robert Haydon, Volume 1

Return to Book Page. Madge Brown is "fifty-ish" She's frowzy, burned out, taken for granted, and locked in the blackest depression she's experienced since the postpartum blues. Could this be the end of the line? Not Even! Madge grabs her own bootstraps and gives them a smart tug and yanks herself right up out of the pits. She transforms herself into "Middy" a top consultant for 'StarWay Beauty Madge Brown is "fifty-ish" She's frowzy, burned out, taken for granted, and locked in the blackest depression she's experienced since the postpartum blues.

She transforms herself into "Middy" a top consultant for 'StarWay Beauty Products' and becomes the not-always-so-perfect assistant to the dreamiest private investigator on the planet. She's determined to never let them find out that she has a permit to carry a concealed weapon and worse, has had to use it to save her fabulous, handsome, and very available PI boss.

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On a larger scale were the nationwide lecture appearances of the sort that Millay and Guest made in the same period. These activities were extensions of the nineteenth-century Chautauqua circuit, but in their modern form they shared in the promotional techniques that advertisers were learning to develop for consumer goods at this time. Lingering American provincialism added a special glamour to the events honoring poets from Great Britain. Yet his absent-mindedness only added to the image of the poet as an unworldly seer. For example, Amy S. The affair, attended by hundreds including representatives of thirty-six nations , included an arrangement by the dancer Ruth St.

Even in the early s, when total purchases of poetry volumes were up, the booksellers understood their efforts as a rejoinder to the idea that the genre had limited appeal. Yet retailers also acknowledged that the key to selling verse was to treat it differently from other kinds of books.

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Under the leadership of George Brett, Jr. When the poet John G. They will be promoted by different methods and kept quite distinct. The series was to include attractively designed pamphlets devoted to Whitman, Poe, Emily Dickinson, and leading contemporary poets such as Millay and Nathalia Crane. To secure reprint rights, Schuster promised not the usual permissions fees but instead a 5 percent royalty to be divided between the poets and their original publishers.

In that way, the Pamphlet Poets would help to achieve the great audience which Whitman sought for America. The volume was Landscape with Figures, by a year-old college student named Lionel Wiggam.

Viking produced an attractive edition that included wood engravings. Those steps generated an advance sale of more than 2, copies, and hence enough income to launch the sort of hefty advertising campaign in nationally circulating literary journals that unknown authors usually did not receive.

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At Macmillan, for example, when Brett reassured John G. Neihardt about the viability of the school edition, he simultaneously refused to do an illustrated volume which the poet had requested—illustrations obviously being more expensive than plain text. Advertising was a particular bone of contention. Yet, we wish to do this sort of book whenever conditions permit, as part of an obligation we feel to the reading public. Perceiving isolation at the heart of human existence, and dissociating themselves from the market economy of industrial capitalism, high modernists venerated the artist as loner.


Neihardt himself was obviously not in the latter group. This hypothesis seems plausible at least in the case of Wheelock, who was both a poet himself and a traveler in high-culture circles. Nevertheless, perhaps with jealousy as well as conviction, Wheelock did evince some disdain for the poet with a large following. Many disgruntled readers ascribed to Ciardi somewhat erroneously a preference for the formlessness, obscurity, and insensitivity to feeling they associated with modernism and academic criticism. Lindbergh intends them to without using a lot of double talk and futile phrases that mean nothing either to the reader or the writer.

Why not take this book of poems for what it is, an expression of Mrs. As late as the s, a St. For such individuals, modernism created a dichotomy between the poet as intimate or friend and as alien. When Sandburg, for instance, evoked the sights and smells of the packinghouse—or when Millay alluded to her lovers—there was no mistaking what they meant. Even those poets not moving, as many do, in the privacy of a dreamworld. While the more accessible poets of the s were easier to assimilate, even the later group could elicit reactions that fell between the extremes of wholesale rejection and wholehearted endorsement—reactions situated instead on the middle ground of demurral, hesitancy, and accommodation.

A case in point is the poet and critic William Aspinwall Bradley. Writing in the Bookman for October , Bradley acknowledged that literature could not retain its power without periodic infusions of fresh perceptions and styles. Other mediators between modernist poets and their audiences were the authors of textbooks and critical studies designed for the general reader. Percy Boynton was one, as were the Van Dorens. So was Deutsch, although she was primarily known as a poet. The most prominent of these popular critics of modernist verse, however, were Marguerite Wilkinson and Louis Untermeyer.

Eliot, but she remained protective of ordinary readers by remarking that modern poetry, having shed sentimentality, required a new infusion of idealism in order to achieve the large audience it deserved. According to Untermeyer, his perspective became less fragmented when he fell in with the Greenwich Village set in the s.

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Yet Untermeyer, still in the jewelry business, was never fully a Village radical or avant-garde artist, but remained, instead, an emissary from the middle class with an eye on the literary main chance. Soon he was embellishing that self-concept in print. The result was Modern American Poetry.

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First issued in , the collection went through eight expansive revisions before In addition to seeking trade sales, Harcourt successfully marketed the volume as a textbook and library reference work. Later versions emphasized those modernists, such as Frost and Hart Crane, whom Untermeyer could assimilate to a Whitmanesque tradition of democratic speech. His attunement to that market overrode his desire to win the approbation of intellectuals and even poets themselves. At the same time, however, the accommodations to modernism effected in book reviews, reading practices, literary histories, and anthologies preserved or restored at least the possibility of an imagined intimacy between poet and reader.

Readers complained in kind. As New Critics moved into academic English Departments, especially after World War II, they institutionalized what, from the perspective of many ordinary readers, amounted to the poetry of divisiveness and confusion. The Bollingen Prize controversy, and the diminished prospects for mediation it signaled, furnished the immediate backdrop for the Ciardi-Lindbergh contretemps eight years later.

For one thing, the process of absorbing the new that Jarrell himself described continued in certain locales like the college classroom, where the professor embodied the mediator as specialist. By , when T.