Louis Untermeyer

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Synonyms for Louis Untermeyer

United States writer (1885-1977)


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seek a vehicle suited to their own epoch and their own creative mood, and resolutely reject all others" (New Poetry 1917: vi), to Louis Untermeyer's insistence that, compared to their predecessors, "the modern poets are different and must be granted their own points of difference" (Modern American Poetry 1919: vii).
"He used Omar's detached thoughts," said anthologist Louis Untermeyer, "and wove them into a design.
Louis Untermeyer is watching." (Untermeyer was the noted poet, scholar and aphrodisiac, you'll recall.)
verses there were no repentant women." Louis Untermeyer referred to the poet's voice as "the sound of the ax on fresh wood." Millay herself commented in an early letter that "I see things with my o wn eyes, just as if they were the first eyes that ever saw, and then I set about to tell, as best I can, just what I see."
Louis Untermeyer's FACTS of Frost's life run throughout this Internet guide to the ad campaign.
Within two months of publication she had befriended Erika and Klaus Mann and gone to Bread Loaf, where she ingratiated herself with the powerful Louis Untermeyer. Two months after that she left her husband of three years, Reeves McCullers, to move into a collective house in Brooklyn with W.H.
Consider, for instance, Louis Untermeyer's critique of Francis's third book, The Sound I Listened For (1944), whose poems accentuate what he asserts is Francis's "gift for seeing minutiae which are anything but trivial." "In this," Untermeyer animadverts, "he reminds the reader of his more illustrious forerunners, especially of one whose background is contiguous.
This is notably true, I have found, with the anthologizer Louis Untermeyer, himself Jewish, insofar as he included Southern poetry with the expression jewboy, for one, in his collection Modern American Poetry.
They have changed the course just a little in that they have finally abandoned Louis Untermeyer's Anthology of British and American Poetry and John Galsworthy is no longer considered a contemporary writer, but F.
Louis Untermeyer, reviewing the anthology in the Chicago Post, praised Millay's contribution especially.
Because the sequence combines a language and perspective that is female, critics of the time dismissed it.(2) Louis Untermeyer pronounced it "dull" (158).
Shortly after the publication of Margaret Walker's first book, Louis Untermeyer wrote in the Yale Review (Winter 1943):
James Oppenheim and Louis Untermeyer are going to make it what it is going to be; and they are both fine fellows and writers of distinction.
Louis Untermeyer called the poem "the acknowledged classic of baseball, its anthem and theme song." Americans have loved it not only because of its baseball theme, but because of its anit-heroic twist at the end.