American Women Writers, 1900-1945: A Bio-Bibliographical by Laurie Champion PDF

By Laurie Champion

Ladies writers were normally excluded from literary canons and never until eventually lately have students started to rediscover or detect for the 1st time ignored girls writers and their works. This reference contains alphabetically prepared entries on fifty eight American ladies authors who wrote among 1900 and 1945. every one access is written via a professional contributor and discusses a selected author's biography, her significant works and topics, and the severe reaction to her writings. The entries shut with vast fundamental and secondary bibliographies, and the amount concludes with a listing of works for additional reading.The interval surveyed through this reference is wealthy and numerous. Modernism and the Harlem Renaissance, significant creative routine, happened among 1900 and 1945, and the entries incorporated right here reveal the numerous contributions girls made to those activities. the amount as an entire strives to mirror the range of yankee tradition and comprises entries for African American, local American, Mexican American, and chinese language American ladies. It contains renowned writers reminiscent of Willa Cather and Eudora Welty, in addition to extra missed ones similar to Anita Scott Coleman and Sui Sin a ways.

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Extra resources for American Women Writers, 1900-1945: A Bio-Bibliographical Critical Sourcebook

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En route she became ill in Rio de Janeiro, where an old friend, Lota de Macedo Soares, helped nurse her back to health. The two women fell in love, and Bishop stayed in Brazil for the next fifteen years, living with Lota in the mountains outside Rio. She often referred to these years as the happiest of her life, and though Bishop had other loves in her lifetime, Lota would be her primary companion. While in Brazil, Bishop published her next two books, Poems (including North & South and A Cold Spring) in 1955 and Questions of Travel in 1965.

In Bishop’s transparently descriptive style, makes it often difficult to see how in this most private, apparently least confessional of contemporary poets, her passion for accuracy and exactitude extends to a passion for autobiographical record” (53). Such readings are part of a tendency within Bishop criticism at large to map her career as progressively autobiographical. Thomas Travisano was one of the first to spark this trend; in Elizabeth Bishop: Her Artistic Development, Travisano asserts that Bishop’s later work is less guarded and more personal, and therefore more courageous, than her earlier poems.

Marianne Moore compared Bogan with W. H. Auden, Gerard Manley Hopkins, Ezra Pound, William Butler Yeats, and William Carlos Williams and praised her ability to write terse, compact verse. Ford Madox Ford placed Bogan’s poetic achievements alongside those of George Herbert and John Donne. Allen Tate referred to Bogan as the most accomplished woman poet of the period. Auden predicted that Bogan’s poetry would become important to the American literary canon, whereas Theodore Roethke said that she “writes out of the severest lyrical tradition in English,” reflecting techniques that demonstrate “the short poem at its best” (142).

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