Misfortunes of Imaginary Beings: Poem of the Day: William Butler Yeats
He's My Guy" is a song by Gene de Paul and Don Raye. . by Hoagy Carmichael in , with lyrics based on a poem written by Jane Brown Thompson. Mentions family relations in Minnesota. Ron Hayes . Raye C. Price Margaret R. (Marnie) Coleman, Bruce Colman, Marion Moore Coleman, Norman F. Coleman, Jane Collinson, Miriana Capoech, Theo D. A. Corkerely, Thelma Cornman, John Cosgrove, Richard H. (Dick) Costa, Charles H. J. W. Powell Poems. Yeats's late poems, of which this is one, are among the great artistic As a Protestant, your relationship with the Irish land was extremely.
Wallace Stegner's abilities as an editor led him to accept a number of responsibilities such as editor-at-large for Saturday Review and editor of The American West. Non-fiction written and published during the period included Beyond the Hundredth Meridian: Stegner retired from Stanford in to devote his time to writing and traveling. He had been thinking about the DeVoto biography for some time. Despite extensive travel, the homes provided Stegner with what he felt he had missed in his youth--a place that meant familiar work, friends, and landscape.
These two locales and the Salt Lake City environs which he considered his hometown, are part of his writing, serving as background in novels and as visuals in his environmental efforts. As he grew up in the arid regions of the West, Stegner developed a keen awareness of the fragility of the land.
Wallace Earle Stegner papers, 1935-2004
In his biographical research of Charles Dutton and later John Wesley Powell, he saw the western landscape as being fundamentally characterized by the scarcity of water resources. Stegner's concern found expression in activism directed at education of the public in the realities of living with the arid climate of the land west of the hundredth meridian.
He felt other environmental problems would occur as multi-purpose land use increased. He wrote eloquently about these concerns in his letter to David E. Personen innow known globally as "The Geography of Hope: Some of the positions he held to address these concerns were: In addition to the prize for Remembering Laughter inStegner received numerous other awards, among them an O.
He was a Guggenheim fellow in, and ; received a Rockefeller grant in ; Fulbright in and ; and the Robert Kirsch award in Stegner refused the National Medal for the Arts which he was to have received in January of because he was "troubled by the political controls" he felt right wing groups placed on the National Endowment for the Arts.
Always a popular speaker, Stegner gave a number of speeches in Utah throughout the years.
FootlightNotes, Thelma Raye (née Thelma Victoria Maud Bell-Morton,
He gave the Dedicatory Address for the J. Willard Marriott Library at the University of Utah in He was the speaker at the Friends of the Library annual banquet in He spoke at the Dedication of the Scott M.
Matheson Wetlands Preserve, Moab, Utah, in In recognition of his close ties with Utah and his alma mater, Stegner designated Special Collections at the J. Willard Marriott Library, as repository for his papers in l. Stegner was seriously injured when the car he was driving was hit by another vehicle.
He was hospitalized and seemed to rally, but after a relapse he died on April Content Description Return to Top Section I, Personal Material, contains personal and autobiographical material including correspondence, scholastic and medical material, documents pertaining to awards, and obituaries, tributes, and condolence letters.
Section II, Correspondence, is made up of personal and professional correspondence, and slco contains royalty statements and other miscellaneous documents referred to in the correspondence. Fan mail is also found in this section. Section III, Writings, contains manuscript drafts for books, articles, short stories, and reviews written by Stegner.
Section IV, Contracts, Copyrights, Permissions, and Adaptations contains documents pertaining to the legal and publishing aspects of Stegner's work. Section V, Universities, Libraries, Museums, and Associations, contains correspondence, pamphlets, brochures, newsletters, and other documents produced by Stegner's association with these organizations. Use of the Collection Restrictions on Use It is the responsibility of the researcher to obtain any necessary copyright clearances. Preferred Citation Initial Citation: Wallace Earle Stegner papers, MsBox [ ].
Ronald Colman - Gentleman Of The Cinema
Special Collections and Archives. University of Utah, J. And he indulged in several extramarital flings, had a vasectomy as part of a ''rejuvenation'' treatment, used a blue rinse on his whitening hair, flirted with fascism and grew more deeply involved with the occult, which resulted in his near-unreadable mystico-mythical theory of history, ''A Vision.
How did a man who could have been an obscure crank, devoted to astrology and communicating with spirit guides, become a great poet?
But it's to Foster's credit that he never stops to wrestle with such possibly unanswerable questions. Foster -- who is a professor of history at Oxford, not a literary biographer -- simply has a wonderful story to tell, and he tells it with a novelistic mastery, careful to put Yeats in his time and place and to delineate that time and place skillfully.
As Foster told an interviewer for the Guardian, Yeats was ''not a loony misplaced southern Californian, but a quintessential Irish Protestant looking for his own kind of magic. As a Protestant, your relationship with the Irish land was extremely complicated and compromised. Yeats once famously wrote, ''We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.
And some of his best earlier verse had come out of the lovers' quarrels with the beautiful revolutionary Maud Gonne. By the time this second volume opens, Gonne was separated from her husband, John MacBride, and was living in France.
MacBride's death opened the way for Yeats to make yet another play for Gonne. Thwarted once again, he turned his attentions to her year-old daughter, Iseult. Rebuffed by her, he married year-old Georgie Hyde Lees, whose fascination with the occult matched his own. The marriage didn't begin well -- the groom had a psychosomatic breakdown, perhaps not unexpected from a year-old man getting married for the first time, and to a woman less than half his age.
But George -- as she came to be known after Ezra Pound started calling her that -- had a special talent that cemented the marriage: She was adept at ''automatic writing,'' serving as a conduit to the spirit world with which her husband was so eager to communicate. Foster gives us a droll, sly account of the way George manipulated Yeats with the messages she related from the spirits -- she even managed their sex life, and carefully steered him away from his obsession with Maud and Iseult.
Given that Yeats was capable -- as his poetry often demonstrates -- of good sense, I sometimes wonder if his apparent credulity was not in part a pose. A game, after all, is more fun if you pretend that it's real. But Foster also helps us keep in mind that Yeats' pursuit of the esoteric was a way of looking for certainties in a world that seemed more terrible with each year -- the World War, the Bolshevik revolution, the rise of fascism and Nazism, and the outbreak of another World War whose inevitability was apparent in the last months of his life.
And always in the foreground there was the violent struggle of his own country for independence. Yeats may have dabbled in fog-brained mysticism and been tempted by narrow-minded politics, but he neither charged into the one nor retreated into the other.
A distaste for democracy betrayed him into an early admiration of Mussolini, and of the Blueshirts in his own country, but while Foster finds Yeats ''elitist and oligarchic,'' he's inclined to downplay Yeats' enthusiasm for fascism. Unlike many of his contemporaries, including Gonne, he never expressed anti-Semitic views, and his friendship with Pound was strained by Pound's increasing fanaticism.
Which is not to say that Yeats would pass even one of our more lenient tests for political correctness, but rather that he lived in uncertain times and reacted to them without the benefit of our hindsight. And more to the point, he managed in his poetry to find a central humanity unfettered by ideology.
This is what makes it possible for generation after generation to return to a poem like ''The Second Coming'' and find truth in lines so often quoted that they come to us unbidden: But these are just the specifics that underlie the universal in the poem, as the specifics of Yeats' literary career underlie the universality of aging in ''The Circus Animals' Desertion.
No one, I submit, except possibly Shakespeare in ''King Lear,'' has written more powerfully and persuasively on aging than Yeats did in ''The Circus Animals' Desertion. We were the last romantics, chose for theme Traditional sanctity and loveliness, All that is written in what poets name The book of the people, whatever most can bless The mind of man or elevate a rhyme; But fashion's changed.
When they're read today, these lines could be an epitaph for poetry itself.