General William Booth Enters Into Heaven, and Other Poems (1913)
General William Booth Enters Into Heaven, and Other Poems (1913)
General William Booth Enters Into Heaven, and Other Poems (1913)
Zane Grey, Riders of the Purple Sage (1912) The famous purple sage of Western lore is made
more dramatic by the red sandstone spires that dot Monument Valley, where Zane Grey rides
below. His lyrical descriptions of this majestic site remind one of an Ed Mell painting, for example,
Red Rock Cloud Drift (inset), which is why Arizona Opera chose to partner with the artist to present
the visuals for its grand interpretation of Zane’s Riders of the Purple Sage novel.
– All Zane Grey photos courtesy Zane Grey’s West Society, the Harold B. Lee Special Collections
Library at Brigham Young University and Zane Grey Inc.; All illustrations by Ed Mell –
Long before it was a national park—before it was even a game preserve, thanks to President Teddy
Roosevelt—this steep-sided canyon of grandeur inspired one of the greatest storytellers of the
American West.
He was a writer who touched hundreds of millions in 20 languages, telling stories of Old West ethics
and codes—in glory and shame—while painting verbal scenes so vivid, the landscape became a
living character
General William Booth Enters into Heaven, and Other Poems (1913) Vachel Lindsay's poetry
has always evoked a memory of the first two decades of the twentieth century before WWI
wrecked civilisation as it was then known. Imagine a poet who wrote poetry with the
intention of it being set to music rather than just being read. Lindsay was a truly unique
individual with an amazing talent that is under-appreciated. There is no finer poetry set to
music than "Gen. William Booth Enters into Heaven, in the Charles Ives composition
performed by the Gregg Smith Singers
Edgar Rice Burroughs, Tarzan of the Apes (1914) So popular was the character that
Burroughs continued the series into the 1940s with two dozen sequels. For the novel's
centennial anniversary, Library of America published a hardcover edition based on the
original book with an introduction by Thomas Mallon in April 2012). Scholars have noted
several important themes in the novel: the impact of heredity on behavior; racial superiority;
civilization, especially as Tarzan struggles with his identity as a human; sexuality; and
escapism.
Chicago Poems (1916) Carl Sandburg's poem Chicago became one of the best known works
of 20th century American literature. Included in countless anthologies, this poem made
famous the description of Chicago as "City of the Big Shoulders," celebrating its role at the
time as the industrial capital of the United States. It’s a description that is still used often
today.
William Carlos Williams, Spring and All (1923) Spring and All was cited as one of the 88
"Books That Shaped America" by the Library of Congress in 2012. In its statement on the
impact of the work, The Library of Congress notes: "A practicing physician for more than 40
years, William Carlos Williams became an experimenter, innovator and revolutionary figure
in American poetry. In reaction against the rigid, rhyming format of 19th-century poets,
Williams, his friend Ezra Pound and other early-20th-century poets formed the core of what
became known as the 'Imagist' movement. Their poetry focused on verbal pictures and
moments of revealed truth, rather than a structure of consecutive events or thoughts and
was expressed in free verse rather than rhyme."
F. Scott Fitzgerald, The Great Gatsby (1925) So closely did Fitzgerald's art imitate his life.
Though he authored four novels and innumerable short stories in his lifetime, Fitzgerald is
best known for writing The Great Gatsby (1925), a dispassionate account reflecting the
decadence and corruption that engulfed America in the 1920s, before the Great Depression
William Faulkner, The Sound and the Fury (1929) Faulkner’s reputation as one of the greatest
novelists of the twentieth century is largely due to his highly experimental style. Faulkner
was a pioneer in literary modernism, dramatically diverging from the forms and structures
traditionally used in novels before his time. Faulkner often employs stream of
consciousness narrative, discards any notion of chronological order, uses multiple
narrators, shifts between the present and past tense, and tends toward impossibly long and
complex sentences. Not surprisingly, these stylistic innovations make some of Faulkner’s
novels incredibly challenging to the reader. However, these bold innovations paved the way
for countless future writers to continue to experiment with the possibilities of the English
language. For his efforts, Faulkner was awarded the Nobel Prize in Literature in 1949. He
died in Mississippi in 1962.
Reunion in Vienna [1931] is Sherwood's comedic contemplation on the Hapsburgs, in which
Prince Maximilian Rudolph rekindles his love for his former mistress, Elena. Alfred Lunt and
Lynn Fontanne starred in the 1931 Broadway production, directed by Worthington Miner and
co-starring Henry Travers, Eduardo Cianelli, and (truncated)
The People, Yes (1936) The 300 page work is thoroughly interspersed with references to
American culture, phrases, and stories (such as the legend of Paul Bunyan). Published at
the height of the Great Depression, the work lauds the perseverance of the American people
in notably plain-spoken language. It was written over an eight-year period and Sandburg’s
last major book of poetry
A Masque of Reason (1945) When an artist becomes so popular that hoi polloi celebrate him
and politicians reward him, critics and avant-gardes do their best to dismiss him. But Frost
was that rarest of rare things: a poet who was very, very popular—superstar popular—and,
at his best, very, very good. His popularity is unmatched in the annals of American poetry;
by the end of his life he had achieved the iconic status of living legend. His collected poems
exceeded record sales; he appeared on magazine covers, was asked by President Kennedy
to compose an inaugural poem, was sent to Russia on a mission of goodwill by the U.S.
government, was recognized on the street and in restaurants. He almost single-handedly
created the poetry reading circuit, delighting the public all over the country with engaging
presentations of his work. He was perhaps the first poet-in-residence at an American
university, in which capacity his duty was little more than to live and exude poetry