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.
Walter John de la Mare was born on 25 April 1873 at Charlton, then in Kent and now part of southeast London, into a family whose circumstances were modest but whose cultural inheritance was unusually varied. His father, James Edward de la Mare, worked as an official at the Bank of England; his mother, Lucy Sophia Browning, came from a family with Scottish connections. The surname preserved a French Huguenot ancestry,…
“Only the rarest kind of best is good enough for the young.”
Neighbourhood:
Children's Verse, Edwardian Poets, Georgian Poets, Nature Poets
Waverley Turner Carmichael emerged from the red clay of Alabama’s Black Belt like a quiet song rising unbidden from the soil itself. Born in 1881 in the small community of Snow Hill, in Wilcox County, he would become one of the most authentic voices of rural African American life in the early twentieth century. His poetry, written in the rich dialect of the Southern Black folk he knew so intimately, captured the humo…
Neighbourhood:
African American Poets, American Poets, Devotional Poets, Folk & Ballad Poets
They overlapped for 56 years (1881–1936).
When Waverley Turner Carmichael was born, Walter de la Mare was about 8.
Walter de la Mare was about 63 when Waverley Turner Carmichael died.
About 7,167 km separate
Canterbury, Kent, England from
Snow Hill, Wilcox County, Alabama, USA.
Different countries, different weather — unless a poem carries one landscape into the other.
Walter de la Mare:
charlton, st paul's cathedral choir school, songs of childhood, the listeners, the three mulla-mulgars, peacock pie, elfrida ingpen, henry newbolt.
Waverley Turner Carmichael:
alabama, snow hill, black belt, from the heart of a folk, james holly hanford, 92nd infantry division, buffaloes, world war i.
Poems that secretly rhyme
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.