Writings in the United Amateur, 1915-1922 by H. P. Lovecraft (electric book reader .TXT) 📕

"Beads from my Rosary", by Mary M. Sisson, is a collection of well written and sensible paragraphs on amateur journalism, which ought to assist in arousing enthusiasm amongst many members hitherto dormant. Editor Dowdell's pithy little epigrams at the foot of each page form an entertaining feature, many of them being of considerable cleverness. Dowdell's Bearcat will soon revert to its original newspaper form, since Mr. Dowdell intends to make newspaper work his life Profession.

The Inspiration for November is a decidedly informal though exceedingly clever personal paper issued by Miss Edna von der Heide as a reminiscence of the Rocky Mount convention. Prose and verse of whimsically humorous levity are employed with success in recording the social side of the amateur gathering.

The Looking Glass for January is composed wholly of biographical matter, introducing to the association the multitude of accomplished recruits obtained through Mrs. Renshaw and others. In these forty life stories, most of them autobiographical, the student of human nature may find material for profound reflection on the variety of mankind. The more recent members of the United, as here introduced, are in the aggregate a maturer, more serious, and more scholarly element than that which once dominated the amateur world; and if they can be properly welcomed and acclimated to the realm of amateur letters, they will be of great value indeed in building up the ideals and character of the association. For this influx of sedate, cultivated members, the United has Mrs. Renshaw to thank, since the present policy of recruiting was originated and is conducted largely by the Second Vice-President.

Ole Miss' for December is the most important of all recent additions to amateur letters, and it is with regret that we learn of the magazine's prospective discontinuance. The issue under consideration is largely local, most of the contributions being by Mississippi talent, and it must be said that the contributors all reflect credit upon their native or adopted State.

Mr. J. W. Renshaw's page of editorials is distinguished equally by good sense and good English. His attitude of disapproval toward petty political activities and fruitless feuds in the United is one which every loyal member will endorse, for nearly all of the past disasters in amateur history have been caused not by serious literary differences, but by conflicting ambitions among those seeking no more than cheap notoriety.

Mrs. Renshaw is well represented both by prose and by verse, the most interesting of her pieces being possibly the essay entitled "Poetic Spontaneity", wherein more arguments are advanced in her effort to prove the inferior importance of form and metre in poesy. According to Mrs. Renshaw, the essence of all genuine poetry is a certain spontaneous and involuntary spiritual or psychological perception and expression; incapable of rendition in any prescribed structure, and utterly destroyed by subsequent correction or alteration of any kind. That is, the bard must respond unconsciously to the noble impulse furnished by a fluttering bird, a dew-crowned flower, or a sun-blest forest glade; recording his thoughts exactly as evolved, and never revising the result, even though it be detestably cacophonous, or absolutely unintelligible to his less inspired circle of readers. To such a theory as this we must needs reply, that while compositions of the sort indicated may indeed represent poesy, they certainly represent art in its proper sense no more than do "futuristic" pictures and other modern monstrosities of a like nature. The only exact means whereby a poet may transmit his ideas to others is language, a thing both definite and intellectual. Granting that vague, chaotic, dissonant lines are the best form in which the tender suitor of the Muses may record his spiritual impressions for his own benefit and comprehension, it by no means follows that such lines are at all fitted to convey those impressions to minds other than his own. When language is used without appropriateness, harmony, or precision, it can mean but little save to the person who writes it. The soul of a poem lies not in words but in meaning; and if the author have any skill at all in recording thought through language, he will be able to refine the uncouth mass of spontaneous verbiage which first comes to him as representing his idea, but which in its original amorphous state may fail entirely to suggest the same idea to another brain. He will be able to preserve and perpetuate his idea in a style of language which the world may understand, and in a rhythm which may not offend the reader's sense of propriety with conspicuous harshness, breaks, or sudden transitions.

"Flames of the Shadow", Mrs. Renshaw's longest poetical contribution to this issue, is a powerful piece which, despite the author's theory, seems in no way injured by its commendably regular structure. "Immortality of Love" is likewise rather regular, though the plan of rhyming breaks down in the last stanza. "For You" and "Sacrament of Spirit" are short pieces, the former containing an "allowable" rhyming of "tongue" and "long", which would not meet with the approval of the Kleiner type of critic, but upon which this department forbears to frown.

James T. Pyke's two poems, "To a Butterfly" and "Life and Time" are gems of incomparable beauty. "Ole Gardens", by Winifred V. Jordan, is a haunting bit of semi-irregular verse which deserves warm applause for the cleverness of its imagery and the aptness of its phraseology. "The Reward of it All", by Emilie C. Holladay, is a potent but pathetic poem of sentiment, whose development is highly commendable, but whose metrical construction might be improved by judicious care. "A Mississippi Autumn" was written as prose by Mrs. Renshaw, and set in heroic verse without change of ideas by the present critic. The metaphor is uniformly lofty and delicate, whilst the development of the sentiment is facile and pleasing. It is to be hoped that the original thoughts of the author are not impaired or obscured by the technical turns of the less inspired versifier. "My Dear, Sweet, Southern Blossom", dedicated to Mr. and Mrs. Renshaw with Compliments of the Author, James Laurence Crowley, is a saccharine and sentimental piece of verse reminiscent of the popular ballads which flourished ten or more years ago. Triteness is the cardinal defect, for each genuine image is what our discerning private critic Mr. Moe would call a "rubber-stamp" phrase. Mr. Crowley requires a rigorous course of reading among the classic poets of our language, and a careful study of their art as a guide to the development of his taste. At present his work has about it a softness bordering on effeminacy, which leads us to believe that his conception of the poet's art is rather imperfect. It is only in caricature that we discover the poet as a sighing, long-haired scribbler of gushing flights of infantile awe or immature adoration. Earnestness, dignity, and at times, sonorous stateliness, become a good poet; and such thoughts as are generally suggested by the confirmed use of "Oh", "Ah", "dear", "little", "pretty", "darling", "sweetest flow'ret of all", "where the morning-glory twineth", and so on, belong less to literary poetry than to the Irving Berlin song-writing industry of "Tin Pan Alley" in the Yiddish wilds of New York City. Mr. Crowley has energy of no mean sort, and if he will apply himself assiduously to the cultivation of masculine taste and technic, he can achieve a place of prominence among United bards.

W. S. Harrison deserves a word of praise for his poem of Nature, entitled "Our Milder Clime", wherein he celebrates the charms of Mississippi, his native state. The lines contain an old-fashioned grace too often wanting in contemporary verse. Other contributions to Ole Miss' are Mrs. Maude K. Barton's "Something of Natchez", a very interesting descriptive sketch in prose, and Dr. Rolfe Hunt's two negro dialect pieces, both of which are of inimitable wit and cleverness.

The Pippin for February is the first number of this important high-school journal to be issued without the supervision of Mr. Moe, and its excellence well attests the substantial independent merit of the Appleton Club. The city of Appleton forms the dominant theme in this number, and with the assistance of seven attractive half-tone illustrations, the publication well displays the beauty and advantages of the pleasant Wisconsin town. Miss Eleanor Halls cleverly weaves into conversational form much