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.
Emanuel Morgan occupies one of the most unusual positions in American literary history: he was a poet who never existed in the ordinary biographical sense, yet whose poems, reputation, controversies, and afterlife have proved remarkably real. The dates commonly attached to him, 1916–1917, refer not to the span of a human life but to the brief public career of a deliberately invented authorial persona. “Emanuel Morgan…
In the pantheon of English regional literature, few figures have managed to bridge the gap between rigorous academic scholarship and authentic folk expression as successfully as Frederic William Moorman. Born in 1872 and tragically lost to the waters of the Yorkshire Dales in 1919, Moorman's brief but remarkable career represents a unique synthesis of scholarly precision and passionate devotion to the vernacular trad…
“It is hardly necessary to state that Yorkshire has produced neither a Robert Burns, a William Barnes, nor even an Edwin Waugh.”
Neighbourhood:
Edwardian Poets, Folk & Ballad Poets, Georgian Poets, Nature Poets
They overlapped for 2 years (1916–1917).
When Emanuel Morgan was born, Frederic William Moorman was about 44.
Frederic William Moorman was about 45 when Emanuel Morgan died.
About 5,361 km separate
New York City, New York, USA from
Ashburton, Devon, England.
Different countries, different weather — unless a poem carries one landscape into the other.
Emanuel Morgan:
spectrism, witter bynner, arthur davison ficke, santa fe, harvard university, tao te ching, mock avant-garde, poetry society of america.
Frederic William Moorman:
yorkshire dales, university of london, university college aberystwyth, university of strasbourg, frances beatrice humpidge, a dalesman's litany, dialect literature, yorkshire dialect.
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.