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.
Anne Knish, credited in some accounts with the dates 1916–1917, was not a historical poet in the ordinary biographical sense. She had no childhood, family, home town, education, intimate correspondence, or grave. Rather, she was a deliberately invented literary identity, one of the central masks in the Spectra hoax, a remarkable episode in American poetry during the first years of modernism. The name “Anne Knish” bel…
William H. A. Moore, born about 1885 and deceased in 1960, belongs to that important but still insufficiently recovered generation of African American poets whose careers connected the literary culture of the late nineteenth century with the flowering of the Harlem Renaissance and its related movements in Chicago, Washington, and other urban centers. His surviving reputation rests on a small body of lyric poetry, sca…
Neighbourhood:
African American Poets, American Poets, Harlem Renaissance, Love Poets, Modernist Poets, Social Justice Poets
They overlapped for 2 years (1916–1917).
When Anne Knish was born, William H. A. Moore was about 31.
William H. A. Moore was about 32 when Anne Knish died.
Anne Knish:
spectra hoax, arthur davison ficke, witter bynner, davenport, iowa, hudson, new york, spectrism, opus 76, free verse.
William H. A. Moore:
new york city, dusk songs, the crisis, james weldon johnson, harlem renaissance, city college of new york, columbia university, 1919 race riot.
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.