Bøger udgivet af Public Domain Press

Hildegarde Flanner - This Morning & Other Verses Public Domain Poets #17 Publicdomainpoets.com Containing the complete poems from 'Young Girl & Other Poems' (1920) and 'This Morning' (1921), & numerous other verses published in 'little magazines' at the time, with an introduction by Porter Garnett, and a generous amount of illustrations by Sydenham Edwards. New edition designed and edited by Dick Whyte. I could drown In one deep petal. Hildegarde Flanner (1899-1987) was born in Indianapolis to progressive parents, and had two sisters also involved in the arts, Janet as a journalist, and Marie as a composer and musician. In 1919 she moved to California to study poetry at the University of California with Witter Bynner, and met the artist Frederick Monhoff who would go on to illustrate a number of Flanner's books. Flanner worked on the school magazine, 'The Occident', and in 1920 won the Emily Chamberlain Cook Prize for poetry, published her first book of verse, 'Young Girl & Other Poems', and a one-act play, 'Mansions'. You must have more wisdom than any, For the sun tells you What God says, And the wild canaries tell you What it is To be a yellow motion In the air. The following year she published a 2nd book of verse, 'This Morning', with a cover designed by Monhoff. Flanner wrote rhymed and 'free' verse - both unrhymed & compressed - and continued to publish in 'little magazines' throughout the 1920s. In 1942 she was named 'Poet of the Month' by New Directions, but by this time had shifted her focus from poetry to environmental writing. She returned to poetry at the end of her life, publishing 4 more collections in the 1970s and 1980s, as well as various essays and reviews, and has since been recognised as a significant poet of the post-1913 'new verse' movements. I have pitched my soul Among a solitude Of other tents . . . O will none of you, Will none of you Draw back the flap Of painted canvas? Public Domain Press produces new editions of out-of-print poetry, with a focus on compressed & fragmented 'free verse' from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Hilda Doolittle - Wind Sleepers & Other Verse Public Domain Poets #18 Publicdomainpoets.com Containing a generous selection of Hilda Doolittle's poems from 'Sea Garden' (1916), 'Hymen' (1921), 'Heliodora' (1924), and the various Imagist anthologies (1914-1917); with illustrations by Helen Saunders & Dorothy Shakespear. New edition designed and edited by Dick Whyte. Whirl up, sea- Whirl your pointed pines, Splash your great pines On our rocks, Hurl your green over us, Cover us with your pools of fir. H.D. [Hilda Doolittle] (1886-1961) was born in Bethlehem, Pennsylvania, and her family moved to Upper Darby when she was a child, She became friends with Ezra Pound as a teenager, began writing poetry, and briefly attended Bryn Mawr College, where she first explored her bisexuality, and met fellow poets Marianne Moore and William Carlos Williams. Pound moved to London in 1908, followed by Doolittle in 1911, and they became close with the poet, Richard Aldington. Are you alive? I touch you. You quiver like a sea-fish. I cover you with my net. What are you-banded one? Together they began writing 'free verse' at a time when English-language poetry was almost exclusively metered and rhymed, calling their work 'Imagiste' (after the 'School of Images', active 1908-1909). Though Doolittle's first poems were published due to Pound's influence, his dictatorial approach to poetics led to a split in the group, with Amy Lowell leading the 'new' lmagists, now including Doolittle, Aldington, John Gould Fletcher, D.H. Lawrence, and F.S. Flint (a founding member of the earlier Imagist group). They would go on to oversee the publication of 3 Imagist anthologies between 1915-1917, highly influential on the post-1913 'new verse' and 'free verse' movements which blossomed in their wake. You crash over the trees, you crack like the live branch: the branch is white, the green crushed, each leaf is rent like split wood. Public Domain Press produces new editions of out-of-print poetry, with a focus on compressed & fragmented 'free verse' from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Gwendolyn B. Bennett - Nocturne & Other VersesPublic Domain Poets #16 | Publicdomainpoets.comContaining all of Gwendolyn B. Bennett's poetry, originally published between 1923-1927 in various journals and anthologies, with illustrations by Bennett. New edition designed and edited by Dick Whyte.This cool night is strangeAmong midsummer days . . .Far frosts are caughtIn the moon's pale light,And sounds are distant laughterChilled to tears.Gwendolyn B. Bennett (1902-1981) was born in Giddings, Texas, and spent her early childhood on the Paiute Reservation in Nevada where her parents were teachers, before relocating to Washington, Pennsylvania, and then New York. Bennett attended Brooklyn Girls' High School, and would go on to study fine arts and teaching at both Columbia University and the Pratt Institute.Night wears a garmentAll velvet soft, all violet blue . . .And over her face she draws a veilAs shimmering fine as floating dew . . .And here and thereIn the black of her hairThe subtle hands of nightMove slowly with their gem-starred light.Bennett published her first poem - written in the compressed, 'free verse' style - in 'The Crisis' in 1923, later worked as an assistant editor at 'The Opportunity', wrote short-stories and magazine articles, and illustrated numerous covers for both 'The Opportunity' and 'The Crisis', as well as co-founding the short-lived poetry magazine 'Fire!' (with Langston Hughes, Zora Neale Hurston, Aaron Douglas, et al.). Alongside her teaching, poetry, and illustration work, Bennett was committed to advancing African American and women's rights through the arts, and was later an administrator on the New York City Works Progress Administration Federal Arts Project.Moon tonight,Beloved . . .When twilightHas gathered togetherThe endsOf her soft robeAnd the last bird-callHas died.Moon tonight-Cool as a forgotten dream,Dearer than lost twilightsAmong trees where birds singNo more.Public Domain Press produces new editions of out-of-print poetry, with a focus on compressed & fragmented 'free verse' from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Lewis G. Alexander - Hokku & Other PoemsPublic Domain Poets #14 | Publicdomainpoets.comContaining all of Alexander's poetry, originally published between 1923-1927 in various journals and anthologies, including 52 hokku and tanka, a short essay on hokku, a handful of other poems (both rhymed and unrhymed). New edition designed and edited by Dick Whyte.Like cherry blossomsDancing with the passing wind-My shattered hopes.Lewis G. Alexander (1898-1945) was born in Washington D.C. and attended Howard University, and later the University of Pennsylvania, both known for their support of African American students. Alexander started writing poetry at the age of 19, and was one of the earliest non-Japanese poets to specialise in English-language tanka and haiku, studying with John Gould Fletcher, and drawing on the work of Yone Noguchi, alongside translators like W.G. Aston and Basil Hall Chamberlain, for inspiration.Cold against the skyThe blue jays cried at dawning.The larks where are they?Heavily upon the airMy ears tuned in to listen.Alexander would go on to publish in numerous well-known arts and poetry magazines throughout the 1920s, including 'The Crisis', 'Opportunity', and 'Fire!!' (etc.), Alexander was also a playwright, director, actor, and costume designer, appearing in the Ethiopian Art Theatre group's productions of Oscar Wilde's 'Salome', and Shakespeare's 'The Comedy of Errors', among other things.The moonlight:Juice flowing from an over-ripe pomegranateburstingThe cossack-crested palm trees:motionlessThe leopard-spotted shade:inciting fearsilence seeds sewn . . .Public Domain Press is dedicated to producing new editions of out-of-print poetry, particularly with regard to compressed & fragmented 'free verse' from the late-1800s & early-1900s. All poems start as facsimiles - to preserve original fonts - which are cleaned up, edited, and spaciously laid-out, adorned with illustrations, and ornaments from the books and magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Sadakichi Hartmann - Drifting Flowers & Other VersesPublic Domain Poets #10 | Publicdomainpoets.comContaining Sadakichi Hartmann's 'Tanka & Haikai: Japanese Rhythms' (1915); selections from 'My Rubaiyat' (1913), and the earlier, 'Drifting Flowers of the Sea' (1904); and the essays 'Why I Publish My Own Books' (1915) and 'The Japanese Conception of Poetry' (1904). New edition designed, edited, and selected by Dick Whyte. If pleasures be mineAs aeons and aeons roll by,Why should I repineThat under some future skyI may live as a butterfly.Hartmann (1867-1944) was born on the island of Dejima, off the coast of Nagasaki, to a Japanese mother and German father. His mother died giving birth to his brother, and they were sent to Germany to live with relatives. Hartmann later ran away to Paris, was disinherited by his father, and sent to Philadelphia, to live with an uncle. It was there he self-published his first dramatic works, and a book of conversations with Walt Whitman.White petals afloatOn a winding woodland stream-What else is life's dream?In the 1900s Hartmann started writing poetry, drawing influence from Whitman, French symbolism, and Japanese poetics, and in 1904 he published the earliest known set of English-language tanka, alongside a short essay on tanka and haiku aesthetics. In the 1910s he followed this up with a collection of linked tanka-esque blank-verse, inspired by the Rubaiyat of Omar Khayyam, and befriended writers like Gertrude Stein and Ezra Pound. Hartmann's 'Japanese Rhythms' (1916), remains one of the earliest published collections devoted to English-language tanka and haikai, followed by Noguchi's 'Japanese Hokkus' (1920), and Jun Fujita's 'Tanka: Poems in Exile' (1923).Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Marie Tudor Garland - Songs For Women & Other VersesPublic Domain Poets #9 | Publicdomainpoets.comSelections from Marie Tudor Garland's 'The Potter's Clay' (1917), 'The Winged Spirit' (1918), and 'The Marriage Feast' (1920), never before anthologised. New edition designed, edited, and selected by Dick Whyte.The sun is low,Shadows from the trees beyond the trailAcross the meadow,-The closing of another day.And life still beyond the hills.Marie Tudor (1870-1945) was the great-granddaughter of Judge William Tudor, State Senator and Secretary of the Commonwealth of Massachusetts, and granddaughter of Frederic Tudor, Boston's 'Ice King' and founder of the Tudor Ice Company. While from a conservative wealthy family, she was educated at Radclife College, a liberal women's arts college, and local newspapers once described her as a "not so proper Bostonian."When dawn cameFleecy clouds caught the sunrise,Nature, dripping from last night's rain,Sparkled in the sunlight.Everything in me hungered for life.Garland began publishing experimental 'free verse' in the late-1910s, and moved to Santa Fe, where she was known for hosting "wild parties" at the Swan Lake Ranch, attended by the likes of Georgia O'Keefe and D.H. Lawrence. Kahlil Gibran also stayed with her in 1918, and reportedly had a 'glorious time'.Love which holds backSomething in reserveWill never knowThe joy of giving,The joy of constant death.Garland was also a committed feminist, and in 1920 attended the Eighth Congress of the International Women's Sufrage Alliance, writing that "it seemed to hold more hope for the world than any international gathering in history." After the death of her first husband, Garland married numerous times, and adopted more than 20 children over her life.The loveI loved you withIs God.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Akiko Yosano, Akiko Yanagiwara, Takeko Kuj¿: Three Women Poets of JapanPublic Domain Poets #13 | Publicdomainpoets.com'Three Women Poets of Modern Japan' (1927), with additional material, including over 100 tanka by Akiko Yosano (1878-1942), Akiko Yanagiwara (a.k.a. 'White Lotus', 1885-1967), and Takeko Kuj¿ (1887- 1928), selected and translated into English by Glenn Hughes and Yazan T. Iwasaki. New edition designed and edited by Dick Whyte.The heart of a woman of thirtyIs a measure of fire,Having neither shade, nor smoke,Nor sound.It is a round sacred sunIn the sky at evening;Silently,Penetratingly,It burns-burns. -'Dance Garments', Akiko YosanoYosano, Yanagiwara, & Kuj¿ were all leading poets in the 'new tanka' movement in Japan in the early-1900s, following Masaoka Shiki's reforms. When translating their work, Hughes and Iwasaki drew on contemporary 'free verse' poets for inspiration, which had themselves drawn on late-1800s and early-1900s translations of tanka and haikai as models; "Free verse poems, as brief as possible, not too musical nor yet too prosaic, seem best to convey to Western ears the sense and effect of the original."With the redness of the setting sunI flame,Thinking of you.Heaven and earth,Cloud and water,Life and death:There is neither end nor beginning-That is all I feel sure of. -2 tanka, Akiko YanagiwaraIt is possible Hughes and Iwasaki were also influenced by Takuboku Ishikawa, a well-known Japanese tanka poet who adopted a 3-line approach to waka in the early-1900s, and Yone Noguchi and Jun Fujita, who pioneered 4-line English-language tanka, in the mid-1910s and early-1920s.I am wrapped in silkThe color of flame,But my body-my bosom-Is cold.Spring night.Silence.The rustle of my dressFalling to the floor.Silence. -2 tanka, Takeko Kuj¿Public Domain Press is dedicated to producing new editions of out-of-print poetry, particularly with regard to compressed & fragmented 'free verse' from the late-1800s & early-1900s. All poems start as facsimiles - to preserve original fonts - which are cleaned up, edited, and spaciously laid-out, adorned with illustrations, and ornaments from the books and magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Sappho - Love Songs & Other FragmentsPublic Domain Poets #15 | Publicdomainpoets.comSappho (c. 630-570 B.C.) was born into a wealthy family from the island of Lesbos, and is said to have had 3 brothers. She probably took up poetry early in life, and would go on to be one of the most highly regarded lyric poets of her time. This collection brings together a generous helping of her surviving fragments, translated by James Easby-Smith (1891) & Edward Storer (1919), alongside a selection of others from various sources (1885-1924), with a 'Foreword' by Edward Storer. New edition designed and edited by Dick Whyte.The moon has set and the PleiadesHave gone.It is midnight; the hours pass; and ISleep alone.Sappho was exiled to Sicily around 600 BC, but continued to write until around 570 BC. While known to be a prolific poet, much of her work was later destroyed by the Church, in large part because her love poetry was addressed to women:- some 10,000 lines reduced to fragments. It was translations of these incomplete verses, and specifcally their (unintentional) fragmentation, which would go on to influence early 'free verse' and Imagist poets, including Edward Storer, H.D., Amy Lowell, Marie Tudor Garland (et al.).Love shakes my soul.So do the oak-trees on the mountainShake the wind.Storer, a founding member of one of the earliest English-language 'free verse' circles, went on to publish his own translations of Sappho's fragments in 1915, seemingly drawing on English-language versions of Japanese tanka and haikai as models. Other well-known translations at the time included Henry Wharton (1885), James Easby-Smith (1891), J.R. Tutin (1903), etc.Divine shell,Your song.Public Domain Press is dedicated to producing new editions of out-of-print poetry, particularly with regard to compressed & fragmented 'free verse' from the late-1800s & early-1900s. All poems start as facsimiles - to preserve original fonts - which are cleaned up, edited, and spaciously laid-out, adorned with illustrations, and ornaments from the books and magazines they originally appeared in. These are not simply "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Iris Barry - Impressions & StudiesPublic Domain Poets #8 | Publicdomainpoets.comContaining almost all of Iris Barry's published poetry from the 1910s and 20s, never before anthologised. New edition designed, edited, and selected by Dick Whyte.At night my mother sits uncorsetedAnd with tired gestures combs her long hair.Her head shines in the gaslight,And she yawns, dropping many hair-pinsAs she goes upstairs.Iris Barry (1895-1969) was born in Birmingham, England, and studied at the Ursulines convent in Belgium. Barry began writing and publishing poetry as early as 1914, already in the 'free verse' style. Ezra Pound read her work in Poetry in 1916, and offered to publish some of her poems, and in 1917 she moved to London to study with Pound. Once there Barry attended Imagist gatherings - attended by H.D., Richard Aldington, T.S. Elliot (et al.) - and regularly published poetry between 1916 and 1924.At nightNeither joy, ambition, love nor wantIn my heart.But the leaves calledAnd the earth called,And there was only waitingAgainst the coming of rain,And the whipping of hairAbout my head.Barry also wrote a novel, Splashing into Society, in 1923; and wrote film criticism for The Spectator and The Daily Mail, around the same time. After 1925 Barry stopped writing poetry, and focussed solely on film criticism. She would go on to co-found the Film Society of London with Ivor Montagu in 1925, and write one of the early classics of English-language film theory, Let's Go To The Movies, in 1926; becoming one of the most widely read film critics of the 1920s. Barry moved to America in 1930, and founded the film department at the newly opened Museum of Modern Art in New York, and worked as a book reviewer for the New York Times.Through the day, meekly,I am my mother's child.Through the night riotouslyI ride great horses . . .Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Adelaide Crapsey - Cinquains & Other VersePublic Domain Poets #6 | Publicdomainpoets.com'Cinquains & Other Verse' contains a generous selection of Adelaide Crapsey's cinquains, and various other poems, originally published posthumously in 'Verse' (1915), with a preface by Jean Webster, and William Stanley Braithwaite. New edition designed, edited, and selected by Dick Whyte.Every day,Every day,Tell the hoursBy their shadows,By their shadows.Adelaide Crapsey (1878-1914) was born and raised in Brooklyn, New York, and attended Vassar College, where she was class poet three years in a row. After graduating, Crapsey taught history & literature at Kemper Hall in Wisconsin, and then studied at the School of Archaeology in Rome.I knowNot these my handsAnd I think there wasA woman like me once had handsLike these.Around this time, she began writing 'free verse', drawing inspiration from the French 'vers libre', Japanese hokku and tanka, and the work of Yone Noguchi, among other things. This inspired Crapsey to develop an English-language 5-line poetic form called the 'cinquain', modeled in part on tanka, which led to some of her most memorable verses (written 1911-13).Listen . . .With faint dry sound,Like steps of passing ghosts,The leaves, frost-crisp'd, break from the trees,And fall.Unfortunately, Crapsey's life was plagued with illness, and she died in 1914 at the age of 36. While leaving behind a single slim volume of poetry, Crapsey's terse, unrhymed poems would go on to inspire a number of poets central to the post-1913 'new verse' movement, including Marianne Moore, Lola Ridge, Yvor Winters, and Carl Sandburg (et al.).These beThree silent things:The falling snow . . . the hourBefore the dawn . . . the mouth of oneJust dead.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

Mina Loy - Songs to Joannes & Other VersesPublic Domain Poets #7 | Publicdomainpoets.comContaining the entire 34 song sequence, 'Songs to Joannes', and a generous selection of Loy's other verses (originally published 1914-1923), as well as selected short essays, manifestos, and aphorisms. New edition designed, edited, and selected by Dick Whyte.I am the jealous store-house of candle-endsThat lit your adolescent learning---------Behind God's eyesThere might beOther lightsLoy (1882-1966) was born in London to wealthy parents. While her father did not believe in formal education for women, Loy convinced him to let her study at Künstlerinnenverein, a women's arts college in Munich, and the Académie Colarossi, in Paris.Out of the severingOf hill from hillThe interimOf star from starThe nascentStaticOf nightShe became close with Gertrude Stein while living in Paris, and then moved to Florence in 1906. Loy began publishing 'free verse' in 1914, dabbled in Futurism, and then in 1916 moved to New York to join the avant-garde arts and literary scene, alongside Dadaists like Marcel Duchamp, Francis Picabia, Tristan Tzara, and publishers Jane Heap & Margaret Anderson (et al.).The prig of passion---To your professorial paucityProto-plasm was madEvolving us---Loy would go on to be a leading poet of the post-1913 'new verse' movement - culminating in her 1923 book, Lunar Baedeker - and her poetic innovations were praised by numerous contemporaries, including William Carlos Williams, Alfred Kreymborg, Walter Arensberg, and T.S. Elliot. Though it would be 25 years until Loy would publish a 2nd book of poetry, she continued to write and make assemblages until her death in 1966.Gertrude SteinCurieOf the laboratoryof vocabularyshe crushedthe tonnageof consciousnesscongealed to phrasesto extracta radium of the wordPublic Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collection, lovingly edited from public domain material, for the serious poetry lover.

T.E. Hulme - Fragments & Other PoemsPublic Domain Poets #3 | Publicdomainpoets.com'Fragments & Other Poems' brings together a small collection of around 30 of Hulme's poems, including a selection of 'fragments' (published posthumously in 1921) and verses from 'The Complete Poetical Works of T.E. Hulme' (first published as an afterword to Ezra Pound's 'Ripostes', in 1912). New edition designed, edited, and selected by Dick Whyte.I walked into the wood in JuneAnd suddenly beauty, like a thick scented veil,Stifled me,Tripped me up, tight round my limbs,Arrested me.T.E. HULME (1883-1917) was born in Endon, a small village in the district of Stafordshire, just outside Stoke-on-Trent, in England. Hulme studied mathematics and philosophy at Cambridge, and became interested in poetry around 1907. He joined The Poets' Club in 1908, but after a disagreement left to start his own writers' circle in 1909 - later dubbed the 'School of Images' - a group of experimental poets based in London, also including Edward Storer, F.S. Flint, Florence Farr, and Joseph Campbell (et al.); influenced by French vers libre (i.e. 'free verse'), Japanese poetic forms like tanka and haikai, and Henri Bergson's metaphysics of the 'image'.The after-black lies low along the hillsLike the trailed smoke of a steamer.Hulme later abandoned poetry, to focus on philosophy and art criticism. He left for WWI in 1914, and was killed in 1917 after being directly struck by a large shell. While Hulme published just 6 poems in his lifetime, his ideas were revived by the Imagists in 1913 - under the leadership of Ezra Pound, and then Amy Lowell - and his work proved to be a significant forerunner to the 'new verse' movements of the 1910s.Old houses were scaffolding once,and workmen whistling.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Mary Caroline Davies - Songs of a Girl & Other VersesPublic Domain Poets #4 | Publicdomainpoets.com'Songs of a Girl & Other Verses' brings together over 100 of Mary Carolyn Davies' unrhymed verses, including the 29 song sequence 'Songs of a Girl' (first published 1919), the 24 song sequence 'Songs' (1917), and a generous selection of other song sequences, verses, and variants (originally published from 1914-1920), none of which have been anthologised before. New edition designed, edited, and selected by Dick Whyte.The sun fallsLike a drop of bloodFrom some hero.We,Who love pain,Delight in this.Mary Carolyn Davies was a poet from Oregon, born in Sprague, and later attended Berkley University. She left college after only a year, and moved to Greenwich Village, meeting poets and artists like Marianne Moore, Alfred Kreymborg, and Marcel Duchamp, among others. Best known for her rhymed verses, Davies was also an early practitioner of 'free verse', and wrote numerous unrhymed 'song' sequences, first published in Kreymborg's 'Others: A Magazine of the New Verse' (1915-1919). Davies' unrhymed verse was largely composed in compressed and fragmented forms, such as the couplet;I am going to die too, flower, in a little while-Do not be so proud.The triplet;Red as dawnThe apple petals burnAgainst my burning cheek.And the quartet and quintet;The moonStrikes my handAcross my face as I lie.And the pain of itKeeps me from sleeping.Davies' verse also explores feminist and queer themes, particularly in the sequence 'Songs' (1916 version), clearly addressed to another woman, in which Davies writes such powerful lines as;Give me your lips-I would live-Your eyes are two miracles;And I, who have seen them,Believe.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Pearl Andelson - Fringe & Other PoemsPublic Domain Poets #2 | Publicdomainpoets.com'Fringe & Other Poems' brings together around 50 poems, including verses from Andelson's 1923 collection 'Fringe', and a selection of other verses and variants, written between 1921 and 1926, never before anthologised. New edition designed, edited, and selected by Dick Whyte.The rain arrangedCrystal berries for meTo wearIn my hair.By inadvertence one fellinto theinfinityof a bluebell.Pearl Andelson was a poet from Chicago, primarily active between 1920 and 1930. She published her first poems in Harriet Monroe's 'Poetry' in 1921, and went on to appear in 'Voices', 'The Forge', and 'The Dial' (among others), all popular outlets for the 'new verse' in English (i.e. often unrhymed, compressed, fragmented). Yvor Winter's said of her work: "Andelson has developed and mastered a compact and beautiful technique that can apparently be made as simple or intricate as she desires" through "precision, flawless juxtaposition, and an exquisite mastery... of rhythm."Like old menand women:simplifiedto a gesture.Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.

Yone Noguchi - Japanese Hokku & Other VersesPublic Domain Poets #5 | Publicdomainpoets.comOver 100 of Yone Noguchi's English-language haiku (then called hokku), and haikai and tanka-influenced 'free verse' (published from 1896-1920), as well as numerous excerpts from his essays and lectures on hokku and poetics, little of which has been anthologised before. New edition designed, edited, and selected by Dick Whyte.Behold the sky where the cuckoo sang,-There remains the morning moon.Behold the world where life cried,-There remains poetry.Noguchi moved to America in 1893, worked as a journalist, and then went to live with the poet Joaquin Miller, and began writing poetry. While English poetry was predominantly rhymed, Noguchi wrote unrhymed verse, taking influence from Japanese forms like haikai and tanka. Noguchi wrote the earliest known English-language haiku, and was one of the earliest English-language poets to write entirely in 'free verse', after Walt Whitman. He also encouraged Western poets to take up haiku and tanka, writing numerous articles, and publishing 2 well-known books of essays, on hokku, tanka, and poetics.Today the dripping rains are my comrades.Their songs are the songs of my soul-The songs of love and dreams.Where will the rains go?Where will my soul go?As 'Poetry' magazine would write in 1919: "Looking back on them now, one can see how directly they forecast the modern movement. They were in free verse - in the 1890s! - they were condensed, suggestive, full of rhythmical variations." Noguchi's work would go on to influence numerous significant poets of the post-1913 'new verse' movement, including Adelaide Crapsey, Amy Lowell, Ezra Pound, John Gould Fletcher, Lewis Alexander, E.E. Cummings (et al.).Is there anything new under the sun?Certainly there is.See how a bird flies, how flowers smile!Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections, particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up, edited for consistency, and spaciously laid-out, adorned with borders, illustrations, and ornaments from the books and magazines they originally appeared in. These are not "reprints" of previously existing books, but newly crafted collections, lovingly edited from public domain material, for the serious poetry lover.