Dick Whyte

Marianne Moore - That Harp You Play So WellForgotten Poets #23 / forgottenpoets.substack.com'That Harp You Play So Well' 90 pages] brings together a selection of poems by New York poet, Marianne Moore, including the entire long poem sequence 'Marriage' (1923), and a generous selection of Moore's other verses (originally published 1921-1924), as well as the essay 'New Verse Since 1912' (1926); with illustrations by Pamela Bianco. Moore was a revolutionary poet, working in the grey space between 'free' and 'rhymed' verse, and a significant poet of the 'new verse' movement of the 1920s.. . . . . . . . .-: TO A SNAIL: -If "compression is the first grace of style,"you have it. Contractility is a virtueas modesty is a virtue. It is not the acquisition of any one thing that is able to adorn, or the incidental quality that occursas a concomitant of something well said, that we value in style, but the principle that is hid: in the absence of feet, "a method of conclusions";"a knowledge of principles,"in the curious phenomenon of your occipital horn.. . . . . . . . .-: APROPOS OF MICE: -Come in, Rat, and eat with me;One must occasionally-If one would rate the rat at his true worth- Practise catholicity. Cheeseparings and a porkrindStock my house-good of their kind But were they not, you would oblige me? Is Plenty, multiplicity? . . . . . . . . . The Forgotten Poets Newsletter presents: new collections of out-of-print and obscure poetry, with a focus on compressed & fragmented 'free' and 'new' verse from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in.

T. E. Hulme - Fragments & Other VerseForgotten Poets #3 / forgottenpoets.substack.com'Fragments & Other Poems' brings together a generous collection of around 30 of T. E. Hulme's poems, English poet and one of the founders of Imagism. Including selections from 'Fragments' (published posthumously in 1921) and 'The Complete Poetical Works of T. E. Hulme' (first published as an afterword to Ezra Pound's Ripostes, in 1912); with the essays 'Lecture on Modern Poetry' (1908) and 'Cinders' (1906-7); and illustrations from The New Age (1913-14), by Walter Bayes, Tom Titt, Ruth Thornhill Doggett, Hubert Piers, John P. Flanagan, Walter Sickert, et al.. . . . . . . . .-: Autumn: -A touch of cold in the Autumn nightI walked abroad, And saw the ruddy moon lean over a hedgeLike a red-faced farmer. I did not stop to speak, but nodded, And round about were the wistful starsWith white faces like town children.. . . . . . . . . The Forgotten Poets Newsletter presents: new collections of out-of-print and obscure poetry, with a focus on compressed & fragmented 'free' and 'new verse' from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in.

Gwendolyn B. Bennett - Nocturnes & Other VerseForgotten Poets #16 / forgottenpoets.substack.com'Nocturnes & Other Poets' 86 pages] brings together, for the first time, all of the available poems and short-stories by Harlem Renaissance poet and poetry critic Gwendolyn Bennett, published in the 1920s in prominent African American arts & culture magazines like Opportunity, The Crisis, and The Messenger (1923-28); with numerous restored illustrations by Bennett, also a well-known visual artist.. . . . . . . . .-: Purgation: -You livedand your bodyClothed the flames of earth. Now that the fires have burned awayAnd left your body cold, I tremble as I standBefore the chiseled marbleOf your dust-freed soul.. . . . . . . . .-: Quatrain: -How strange that grass should sing-Grass is so still a thing . . . And strange the swift surprise of snow, -So soft it falls and slow.. . . . . . . . . . The Forgotten Poets Newsletter presents: new collections of out-of-print and obscure poetry, with a focus on compressed & fragmented 'free' and 'new' verse from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in.