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.
Grace Hazard Conkling, born Grace Walcott Hazard in New York City on 7 February 1878, belonged to a generation of American women whose intellectual ambitions were increasingly supported by women’s colleges, international study, and new professional opportunities, even as marriage and motherhood still imposed demanding social expectations. She became a poet, teacher, musician, critic of children’s reading, and a forma…
Neighbourhood:
American Poets, Love Poets, Nature Poets, Women Poets
Robert Seymour Bridges was born on 23 October 1844 at Walmer, near Deal in Kent, into a prosperous and cultivated English family whose security gave him both educational opportunity and, eventually, the independence to pursue literature without needing to earn his living from it. He was the fourth son of John Thomas Bridges and Harriet Elizabeth Bridges. His father had served in the navy and later held administrative…
“This dim middle place is the magazine of our common sense; it is the garden where our ideals grow, and its spontaneous fruiting is genius.”
They overlapped for 53 years (1878–1930).
When Grace Hazard Conkling was born, Robert Bridges was about 34.
Grace Hazard Conkling was about 52 when Robert Bridges died.
About 5,681 km separate
New York City, New York, USA from
Walmer, Kent, England.
Different countries, different weather — unless a poem carries one landscape into the other.
Grace Hazard Conkling:
new york city, smith college, hilda conkling, symphony of a mexican garden, wilderness songs, roscoe platt conkling, tampico, charles-marie widor.
Robert Bridges:
walmer, eton college, corpus christi college, gerard manley hopkins, the growth of love, london snow, st bartholomew's hospital, hospital for sick children.
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.