Pick two poets who seem to have nothing to do with each other — a Gothic American and a pastoral Englishman, say — and see where the catalogue actually joins them: overlapping years, shared ground, distinctive themes, and the poems that secretly rhyme.
Arthur O'Shaughnessy
James Oppenheim
A random pair who overlapped in time and whose poems already rhyme in the catalogue — a way into poets you may not have met.
Arthur William Edgar O’Shaughnessy was born in London on 14 March 1844 and died there on 30 January 1881, at the age of thirty-six. His life was brief, financially constrained, and repeatedly shadowed by bereavement, yet it produced a body of verse whose finest passages have retained an unusual power. He belongs to that fertile, sometimes neglected region of Victorian poetry situated between the late Romantics, the P…
“Love appears to me, indeed, as the offer of heaven.”
James Oppenheim, born on 24 May 1882 in St. Paul, Minnesota, and dead on 4 August 1932 in New York City, belonged to that fervent generation of American writers who wanted literature to enter the streets. He was a poet, novelist, editor, social observer, and eventually an interpreter of the psyche. His name is most often remembered through “Bread and Roses,” the ringing labor poem that gave memorable language to the…
“The foolish man seeks happiness in the distance, the wise grows it under his feet.”
About 6,437 km separate Ealing, London, England from St. Paul, Minnesota, USA. Different countries, different weather — unless a poem carries one landscape into the other.
Distinctive words drawn from each poet’s critiqued poems — what they keep writing about, not just what their biographies mention.
Arthur O'Shaughnessy: victorian london, irish descent, epic of women, lays of france, dante gabriel rossetti, pre-raphaelite movement, albert günther, eleanor marston. James Oppenheim: st. paul, minnesota, new york city, bread and roses, joseph oppenheim, lucy seckel, the nine-tenths, monday morning and other poems, hudson guild.
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.
Arthur O'Shaughnessy: Longing, Sorrow, Despair. James Oppenheim: Anger, Longing, Sorrow.
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