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.
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
Louis MacNeice was born on 12 September 1907 in Belfast, the youngest child of John Frederick MacNeice and Elizabeth Margaret Clesham. His father was a Church of Ireland clergyman who would later become a bishop, and the family moved shortly after Louis's birth to Carrickfergus, on the northern shore of Belfast Lough, where the boy grew up in the rectory beneath the squat Norman keep of the castle. It was an apparent…
“I don't believe in pure form. I don't believe in pure anything.”
Neighbourhood:
Death & Mortality, Irish Poets, Modernist Poets, Social Justice Poets
They overlapped for 54 years (1907–1960).
When Louis MacNeice was born, William H. A. Moore was about 22.
Louis MacNeice was about 53 when William H. A. Moore died.
About 5,106 km separate
New York City, New York, USA from
Belfast, Northern Ireland.
Different countries, different weather — unless a poem carries one landscape into the other.
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.
Louis MacNeice:
belfast, carrickfergus, william macneice, mary ezra, autumn journal, snow, letters from iceland, the dark tower.
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.