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.
In the early decades of the twentieth century, when American poetry was undergoing one of its most dramatic transformations, a young man of Irish heritage was crafting verses that sought to bridge the ancient traditions of Celtic literature with the modern sensibilities of his adopted homeland. Shaemas O'Sheel, born James Shields in New York City on January 12, 1886, would become one of the more intriguing yet ultima…
Neighbourhood:
American Poets, Imagist Poets, Irish Poets, Modernist Poets, Political Poets
On the eastern coast of Scotland, where the North Sea meets the fertile lands of Angus, stands the House of Dun—a Georgian mansion that witnessed the birth of one of Scotland's most distinctive literary voices. It was here, on 1 September 1863, that Violet Augusta Mary Frederica Kennedy-Erskine entered the world, destined to become the poet and novelist who would capture the very essence of Scottish rural life in ver…
“It will never leave me while I live. He is so near me often …”
Neighbourhood:
Folk & Ballad Poets, Scottish Poets, Women Poets
They overlapped for 61 years (1886–1946).
When Shaemas O'Sheel was born, Violet Jacob was about 23.
Shaemas O'Sheel was about 60 when Violet Jacob died.
About 5,265 km separate
New York City, New York, USA from
House of Dun, Angus, Scotland.
Different countries, different weather — unless a poem carries one landscape into the other.
Shaemas O'Sheel:
new york city, irish heritage, they went forth to battle, but they always fell, jealous of dead leaves, irish literary revival, w.b. yeats, harriet monroe, socialism.
Violet Jacob:
house of dun, angus, scottish rural life, william henry kennedy-erskine, catherine jones, diaries and letters from india 1895-1900, flemington, celtic revival.
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.