Edna St. Vincent Millay Reads Her Own Poetry

American poet

Edna St. Vincent Millay
Edna St. Vincent Millay, photographed by Carl Van Vechten, 1933
Built-in	(1892-02-22)February 22, 1892 Rockland, Maine, United states
Died	Oct 19, 1950(1950-ten-19) (aged 58) Austerlitz, New York, US
Pen name	Nancy Boyd
Occupation	Poet
Nationality	American
Alma mater	Vassar College
Notable awards	Pulitzer Prize for Poetry (1923) Robert Frost Medal (1943)

Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) was an American lyrical poet and playwright.

Encouraged to read the classics at dwelling house, she was too rebellious to brand a success of formal education, but she won verse prizes from an early on age, including the Pulitzer Prize in 1923, and went on to utilise poetry as a medium for her feminist activism. She also wrote poesy-dramas and a highly praised opera, The King'south Henchman. Her novels appeared nether the proper noun Nancy Boyd, and she refused lucrative offers to publish them under her own name.

Millay was a prominent social figure of New York City's Greenwich Village just equally it was becoming known as a bohemian writer's colony, and she was noted for her uninhibited lifestyle, forming many passing relationships with both men and women. She was also a social and political activist and those relationships included prominent anti-war activists including Floyd Dell, editor of the radical magazine The Masses, and peradventure John Reed. She became a prominent feminist of her time; her poetry and her example, both subversive, inspired a generation of American women.

Her career every bit a poet was meteoric. In 1923 she became the get-go woman to win the Pulitzer prize in verse. She became a performance artist super-star, reading her verse to rapt audiences beyond the country.^[1]

A route blow in heart-age left her a partial invalid and morphine-dependent for years. However near the end of her life, she wrote some of her greatest poetry.

Early life [edit]

Millay was born in Rockland, Maine, to Cora Lounella Buzelle, a nurse, and Henry Tolman Millay, a schoolteacher who would later go a superintendent of schools. Her middle name derives from St. Vincent'due south Hospital in New York, where her uncle's life had been saved just earlier her nascence. The family unit's house was "between the mountains and the sea where baskets of apples and drying herbs on the porch mingled their scents with those of the neighboring pine woods."^[2] Edna's mother attended a Congregational church.^[3] In 1904, Cora officially divorced Millay'southward father for financial irresponsibility and domestic corruption, but they had already been separated for some years. Henry and Edna kept a letter of the alphabet correspondence for many years, simply he never re-entered the family unit. Cora and her three daughters – Edna (who called herself "Vincent"), Norma Lounella (born 1893), and Kathleen Kalloch (born 1896) – moved from town to town, living in poverty and surviving various illnesses. Cora travelled with a torso full of classic literature, including Shakespeare and Milton, which she read to her children. The family settled in a small-scale house on the holding of Cora's aunt in Camden, Maine, where Millay would write the first of the poems that would bring her literary fame.

The 3 sisters were independent and spoke their minds, which did not always sit well with the dominance figures in their lives. Millay'south class school principal, offended by her frank attitudes, refused to call her Vincent. Instead, he called her past any woman's name that started with a V.^[five] At Camden High School, Millay began developing her literary talents, starting at the school's literary mag, The Megunticook. At fourteen she won the St. Nicholas Gold Badge for poetry, and by 15, she had published her poetry in the pop children's magazine St. Nicholas, the Camden Herald, and the high-profile anthology Current Literature.

Millay entered Vassar College in 1913 when she was 21 years erstwhile, later than usual. Her attendance at Vassar became a strain to her due to its strict nature. Earlier she attended the college Millay had a liberal home life that included smoking, drinking, playing gin rummy, and flirting with men. Vassar, on the other hand, expected its students to be refined and alive according to their status as young ladies.^[half-dozen] She had relationships with many fellow students during her time at that place and kept scrapbooks including drafts of plays written during the period.^{[5] [7]} While at school, she had several relationships with women, including Edith Wynne Matthison, who would go on to become an extra in silent films.^[8]

New York City [edit]

Edna St. Vincent Millay'south habitation in 1923–24 at 75+ i⁄2 Bedford Street, Greenwich Village (2013 photo)

After her graduation from Vassar in 1917, Millay moved to New York City. She lived in a number of places in Greenwich Village, including a business firm owned past the Scarlet Lane Theatre^[9] and 75½ Bedford Street, renowned for beingness the narrowest^{[10] [11]} in New York Metropolis.^[12] While in New York City, Millay lived an openly bisexual lifestyle. ^[six] The critic Floyd Dell wrote that the cherry-haired and beautiful Millay was "a frivolous young woman, with a brand-new pair of dancing slippers and a mouth like a valentine."^[two] Millay described her life in New York equally "very, very poor and very, very merry." While establishing her career as a poet, Millay initially worked with the Provincetown Players on Macdougal Street and the Theatre Guild. In 1924 Millay and others founded the Cherry Lane Theater "to continue the staging of experimental drama."^[13] Magazine articles under a pseudonym also helped support her early days in the Village.^[2] During her stay in Greenwich Village, Millay learned to use her verse in her feminist activism. She frequently went into detail near topics others constitute taboo, such every bit a wife leaving her husband in the middle of the night.^[vi]

Counted among Millay's close friends were the writers Witter Bynner, Arthur Davison Ficke, and Susan Glaspell, likewise as Floyd Dell and the critic Edmund Wilson, both of whom proposed wedlock to her and were refused.^{[8] [14]} Millay had a mode of wrapping men around her finger, fifty-fifty after she rejected them.^[6] Edmund Wilson, for example, spoke of her highly because Millay took his virginity but she rejected his advances and his spousal relationship proposal. However, he remained a loyal friend.^[6]

Career [edit]

Millay's fame began in 1912 when, at the age of 20, she entered her poem "Renascence" in a poetry contest in The Lyric Year. The backer of the contest, Ferdinand P. Earle, chose Millay as the winner after sorting through thousands of entries, reading only two lines apiece. Her entry had gone into the waste bin at least once before existence pulled out and given some other pass. Earle sent a letter informing Millay of her win before consulting with the other judges, who had previously and separately agreed on a criterion for a winner to winnow down the massive overflowing of entrants.^[15] According to the remaining judges, the winning poem had to exhibit social relevance, which "Renascence" did not. The Entry of Orrick Johns, "Second Artery," was almost the "squalid scenes" Johns saw on Eldridge Street and lower Second Avenue on the Lower E Side when he was in New York.^[xvi] It coalesced after a spoken language near economic inequality he had seen given by anarchist Emma Goldman on New Year's Eve 1912. The Lyric Year judges had already awarded Johns the win for this reason. It was three judges to Earle's one, and so Millay placed fourth. Controversy ensued and played out in newspaper columns and editorial pages. The dust-upwardly launched the careers of both Millay and Johns. Johns received hate mail service, then he made articulate he felt her verse form was the better i and avoided the awards feast in his honor. He stated that "the award was as much an embarrassment to me equally a triumph." A 2d-prize winner offered Millay his $250 prize coin.^[17] In the firsthand aftermath of the Lyric Twelvemonth controversy, wealthy arts patron Caroline B. Dow heard Millay reciting her verse and playing the piano at the Whitehall Inn in Camden, Maine, and was so impressed that she offered to pay for Millay's pedagogy at Vassar College.^[eighteen]

Millay's 1920 collection A Few Figs From Thistles drew controversy for its exploration of female sexuality and feminism.^[19] In 1919, she wrote the anti-war play Aria da Capo, which starred her sister Norma Millay at the Provincetown Playhouse in New York City. Millay won the Pulitzer Prize for Verse in 1923 for "The Ballad of the Harp-Weaver";^[xx] she was the third adult female to win the poetry prize, after Sara Teasdale (1918) and Margaret Widdemer (1919).^[21]

Millay as well wrote short stories for the magazine Ainslee'southward - but she was a canny protector of her identity as a poet and an aesthete, and insisted on publishing this more mass-entreatment piece of work nether a pseudonym, Nancy Boyd. As her fame grew and she became a household name, the publisher of Ainslee'southward offered to double her fees if he could use her real proper noun. She refused.

In January 1921, she went to Paris, where she met and befriended the sculptors Thelma Forest^[22] and Constantin Brâncuși, photographer Homo Ray, had diplomacy with journalists George Slocombe and John Carter, and became pregnant by a human being named Daubigny. She secured a union license but instead returned to New England where her mother Cora helped induce an ballgame with alkanet, as recommended in her erstwhile copy of ''Culpeper's Complete Herbal''.^[23] Possibly as a outcome, Millay was oftentimes ill and weak for much of the next four years.

After experiencing his remarkable attentions to her during her affliction, in 1923 she married 43-year-old Eugen January Boissevain (1880–1949), the widower of the labor lawyer and war correspondent Inez Milholland, a political icon Millay had met during her time at Vassar.^[24] A self-proclaimed feminist, Boissevain supported Millay's career and took primary care of domestic responsibilities. Both Millay and Boissevain had other lovers throughout their 26-yr marriage. For Millay, ane such meaning human relationship was with the poet George Dillon, a educatee fourteen years her inferior, whom she met in 1928 at one of her readings at the University of Chicago. Their human relationship inspired the sonnets in the collection Fatal Interview (published 1931).^[25]

Principal house at Steepletop, where Millay spent the concluding 25 years of her life

In 1925, Boissevain and Millay bought Steepletop near Austerlitz, New York, which had once been a 635-acre (257 ha) huckleberry farm.^[26] They built a barn (from a Sears Roebuck kit), and then a writing motel and a tennis courtroom. Millay grew her own vegetables in a small garden.^{[26] [27]} After, they bought Ragged Island in Casco Bay, Maine, as a summertime retreat.^[28] Frequently having problem with the servants they employed, Millay wrote, "The but people I really hate are servants. They are non really human beings at all."^[29]

In the summer of 1936, Millay was riding in a station wagon when the door suddenly swung open, and Millay "was hurled out into the pitch-darkness...and rolled for some distance downward a rocky gully"^[xxx] The accident severely damaged nerves in her spine, requiring frequent surgeries and hospitalizations, and at least daily doses of morphine. Millay lived the rest of her life in "constant pain".^[31] Despite this, she was sufficiently alarmed by the rise of fascism to write against it. During World State of war I, Millay had been a dedicated and active pacifist; however, in 1940 she advocated for the U.Southward. to enter the state of war confronting the Axis and became an ardent supporter of the war effort. She later worked with Writers' State of war Lath to create propaganda, including verse.^[32] Millay'south reputation in poetry circles was damaged past her state of war work. Merle Rubin noted, "She seems to have caught more flak from the literary critics for supporting commonwealth than Ezra Pound did for championing fascism."^[33] In 1942 in The New York Times Mag, Millay mourned the destruction of the Czechoslovak town of Lidice. Nazi forces had razed Lidice, slaughtered its male inhabitants and scattered its surviving residents in retaliation for the assassination of Reinhard Heydrich. Millay wrote:

The whole world holds in its artillery today
The murdered hamlet of Lidice,
Like the murdered body of a little child.^[ii]

This commodity would serve as the basis of her 32-page poem, "Murder of Lidice", in 1942^[34] and loosely served as the basis of the 1943 MGM movie Hitler's Madman. Douglas Sirk directed the movie. Harper and Brothers published the poem in 1942.^{[34] [35]}

In 1943, Millay was the sixth person and the second woman to be awarded the Frost Medal for her lifetime contribution to American poesy.

Despite the excellent sales of her books in the 1930s, her declining reputation, constant medical bills, and frequent demands from her mentally ill sis Kathleen meant that for nearly of her last years, Millay was in debt to her ain publisher.^[36] Writer Daniel Mark Epstein too concludes from her correspondence that Millay adult a passion for thoroughbred equus caballus-racing, and spent much of her income investing in a racing stable of which she had quietly become an owner.^[five]

Although her piece of work and reputation declined during the war years, perhaps because of a morphine habit acquired following her accident, she subsequently sought treatment for it and was successfully rehabilitated, with some of her finest piece of work dating from the mail service-war period. Boissevain died in 1949 of lung cancer, and Millay lived lone for the concluding yr of her life. Her final collection of poems was published posthumously as the volume "Mine the Harvest". The title sonnet recalls her career:

Those hours when happy hours were my manor, —
Entailed, as proper, for the next in line,
Still mine the harvest, and the title mine —
Those acres, fertile, and the furrows directly,
From which the lark would rise — all of my late
Enchantments, still, in bright colours, smoothen,

^[37]

Decease and legacy [edit]

Edna St. Vincent Millay's (and her husband's) gravestone at Steepletop

Millay died at her home on October 19, 1950. She had fallen down stairs and was found approximately viii hours after her decease. Her dr. reported that she had suffered a heart assail following a coronary apoplexy.^{[2] [38] [39]} She was 58 years former. She is buried alongside her husband at Steepletop, Austerlitz, New York.^[xl]

Millay's sister Norma and her married man, the painter and actor Charles Frederick Ellis, moved to Steepletop after Millay'due south death. In 1973, they established the Millay Colony for the Arts on seven acres well-nigh the house and befouled. After the death of her hubby in 1976, Norma continued to run the plan until her death in 1986.^[26]

At 17, the poet Mary Oliver visited Steepletop and became a close friend of Norma. Later she lived at Steepletop off-and-on for 7 years and helped to organize Millay's papers.^[41] Mary Oliver herself went on to become a Pulitzer Prize-winning poet, greatly inspired by Millay'due south work.^[42]

In 2006, the state of New York paid $1.69 million to acquire 230 acres (0.93 km²) of Steepletop, to add the land to a nearby state forest preserve. The proceeds of the sale were used by the Edna St. Vincent Millay Club to restore the farmhouse and grounds and plough it into a museum. The museum opened to the public in the summer of 2010, and guided tours of Steepletop and Millay'south gardens were available from the end of May through the middle of October. Effective November 2022 Steepletop closed to the public due to financial challenges and restoration needs. Fundraising efforts go on as do considerations for the futurity of this museum business firm.^[43] Parts of the grounds of Steepletop, including the Millay Verse Trail that leads to her grave, are at present open up for occasional scheduled events.^[44]

Conservation of Millay's birthplace began in 2022 with the buy of the double-business firm at 198-200 Broadway, Rockland, Maine. Congenital in 1891, Henry T. and Cora B. Millay were the offset tenants of the north side, where Cora gave birth to her first of three daughters during a Feb 1892 squall.^[45] Identified as the Singhi Double House, the home was added to the National Register of Historic Places in 2022 not equally the poet'south birthplace, only as a "adept example" of the "modest double houses" that made upwardly virtually 10% of residences in the largely working-course seaside city between 1837 and the early 1900s.^[46] When fully restored by 2023, half the house will be dedicated to honoring Millay's legacy with workshops and classes, while the other half will be rented for income to sustain conservation and programs. A author-in-residence will be funded past the Ellis Beauregard Foundation and the Millay House Rockland.^[47]

Millay lived in nearby Camden, Maine, beginning in 1900, where she is likewise memorialized. A statue of the poet stands in Harbor Park which shares with Mt. Battie the view of Penobscot Bay that opens "Renascence," the poem that launched Millay's career.^[48] Camden Public Library likewise shares Mt. Battie's view. It has the first couplets of "Renascence" inscribed along the perimeter of a large skylight: "All I could meet from where I stood / Was three long mountains and a wood; / I turned and looked another way, / And saw 3 islands in a bay."^[49] The library's Walsh History Center collection contains the scrapbooks created by Millay's high school friend, Corinne Sawyer, every bit well as photos, letters, newspaper clippings, and other ephemera.^[50]

Nancy Milford published a biography of the poet in 2001, Roughshod Beauty: The Life of Edna St Vincent Millay. Millay's sister, Norma Millay Ellis (so her simply living relative), offered Milford access to the poet'southward papers based on her successful biography of F. Scott Fitzgerald's wife, Zelda. Milford also edited and wrote an introduction for a collection of Millay'due south poems called The Selected Poetry of Edna St. Vincent Millay. ^[51] Milford wrote that "Millay was the first American effigy to rival the personal adulation, frenzy even, of Byron, where the poet in his person was the romantic ideal. It was his life every bit much as his piece of work that shocked and delighted his audiences. Edna Millay was the only American adult female to depict such crowds to her. Her performing self made people feel they had seen the muse alive and just within accomplish."^[ane]

Millay has been referenced in popular culture, and her work has been the inspiration for music and drama:

In the 1971 All in the Family episode "Judging Books by Covers", the character Archie Bunker erroneously refers to the poet as "Edna St. Louis Millay."

In 1972 the Poem 'Careful Objector' by Edna, was put to music past Mary Travers (of Peter, Paul and Mary) on her anthology 'Morning Celebrity'.

In the 1975 The Waltons episode "The Woman", a female poet visiting the college attended by John Boy quotes Edna St. Vincent Millay, reciting "The Kickoff Fig":

"My candle burns at both ends;
It will not terminal the night;
But ah, my foes and oh my friends—
It gives a lovely calorie-free!"

In 1978 American composer Ivana Marburger Themmen used Millay'south text for her composition for vox and orchestra Shelter This Candle from the Current of air.^[52]

In July 1981, the United States Mail service issued an 18-cent postage stamp depicting Edna St. Vincent Millay.^[53]

In Oct 2020, Scottish harpist Maeve Gilchrist^[54] produced an album entitled The Harpweaver, that owes its origin to a verse form by Edna St. Vincent Millay, "The Ballad of the Harp-Weaver".

Millay has been the inspiration for several plays and musicals, including the biographical play Words Like Fresh Skin, written by Megan Lohne and produced at Adelphi Academy.^[55]

Singer songwriter Liz Queler discovered Millay while dealing with her father'southward progressing Alzheimer's Disease. She gear up several of her poems to music, which were released as the CD Discovering Edna in 2010 and later developed into the play Withal Will be Heard, which debuted in 2021.^[56]

In 2021, Hildegard Publishing released Six Songs on Poems of Edna St. Vincent Millay by Margaret Bonds (1913-1972).^[57]

In 2015, Millay was named by Equality Forum as ane of their "31 Icons" of the 2022 LGBT History Month.^[58]

Works [edit]

My candle burns at both ends;
Information technology volition not last the dark;
But ah, my foes, and oh, my friends—
It gives a lovely low-cal!

"First Fig"
from A Few Figs from Thistles (1920)^[59]

Millay wrote six verse dramas early on in her career, including Two Slatterns and a King and The Lamp and the Bong, a verse form written for Vassar College about love between women.^[8] She was commissioned by the Metropolitan Opera Business firm to write a libretto for an opera composed by Deems Taylor. The result, The Rex's Henchman, drew on the Anglo-Saxon Chronicle'southward account of Eadgar, King of Wessex, and was described equally the most finer and artistically wrought American opera always to achieve the phase. Within iii weeks, her publishers had run through four editions of the volume.^[2]

Her pacifist verse drama Aria da Capo, a one-act play written for the Provincetown Players, is frequently anthologized. It aired live as an episode of Academy Theatre in 1949 on NBC.^[threescore]

"Euclid lone has looked on Beauty blank" (1922) is an homage to the geometry of Euclid.^[61] "Renascence"^[62] and "The Ballad of the Harp-Weaver"^[63] are oftentimes considered her finest poems. On her death, The New York Times described her as "an idol of the younger generation during the glorious early days of Greenwich Hamlet [...] One of the greatest American poets of her time."^[two] Thomas Hardy said that America had 2 cracking attractions: the skyscraper and the poetry of Edna St. Vincent Millay.^[64] The poet Richard Wilbur asserted, "She wrote some of the all-time sonnets of the century."^{[65] [66]}

Publications [edit]

See also [edit]

• Lesbian Poetry

References [edit]

1. ^ ^{a b} Milford 2001, p. xiv.
2. ^ ^{a b c d eastward f m} "Edna St. Five. Millay Constitute Dead At 58", The New York Times (obituary), Oct xx, 1950, retrieved September 13, 2010 .
3. ^ Milford, Nancy (September ten, 2002). Roughshod Dazzler: The Life of Edna St. Vincent Millay. ISBN9780375760815.
4. ^ 1869-1942, Genthe, Arnold (September 24, 2018). "Edna St. Vincent Millay at Mitchell Kennerley'due south business firm in Mamaroneck, New York". world wide web.loc.gov. {{cite web}}: CS1 maint: numeric names: authors list (link)
5. ^ ^{a b c} Epstein 2001.
6. ^ ^{a b c d east} MILLAY, VINCENT (September 5, 2005), "Edna St. Vincent Millay", Lofty Dogmas, University of Arkansas Printing, pp. 248–250, doi:x.2307/j.ctvmx3j3j.68, ISBN978-ane-61075-244-2
7. ^ Brinkman, B. "Modern American Athenaeum and Scrapbook Modernism." The Cambridge Companion to Modern American Poetry (2015):
8. ^ ^{a b c} Millay, Edna St. Vincent (February 4, 2014). "Edna St. Vincent Millay". Edna St. Vincent Millay.
9. ^ Nevius, Michelle and James (2009). Inside the Apple tree: A Streetwise History of New York City. New York: Complimentary Press.
10. ^ Gray, Christopher (November 10, 1996). "For Rent: 3-Flooring Business firm, 9 1/ii Ft. Wide, $6,000 a Month". The New York Times . Retrieved December 14, 2015.
11. ^ Barbanel, Josh (September 19, 2013). "Grand on a Small Calibration". The Wall Street Periodical . Retrieved Dec 14, 2015.
12. ^ Wetzsteon, Ross. 2002. Republic of Dreams: Greenwich Village, the American Bohemia, 1910-1960. New York: Simon & Schuster. p. 283
13. ^ Delaney, Edmund T. 1968. New York's Greenwich Village. Barre, Mass: Barre Publishers. p. 112
14. ^ Milford 2001, pp. 191–192.
15. ^ Ross., Wetzsteon (2003). Republic of dreams : Greenwich Village, the American Bohemia, 1910-1960. Simon & Schuster. ISBN0-684-86996-nine. OCLC 878620649.
16. ^ 1887-1946., Johns, Orrick (1973). Fourth dimension of our lives : the story of my male parent and myself. Octagon Books. ISBN0-374-94215-three. OCLC 463542875. {{cite book}}: CS1 maint: numeric names: authors listing (link)
17. ^ Nuance, Joan (1973). A Life of 1's Ain: Three Gifted Women and the Men They Married . New York: Harper & Row. ISBN9780060109493.
18. ^ Reuben, Paul P. "Affiliate 7: Edna St. Vincent Millay". PAL: Perspectives in American Literature – A Research and Reference Guide. CSUSTAN. Retrieved July 2, 2012.
19. ^ Millay, Edna St. Vincent. A few Figs from Thistles
20. ^ Millay, Edna St. Vincent, "The Ballad of the Harp-Weaver"
21. ^ "Poetry", Pulitzer , retrieved December ix, 2010 .
22. ^ Herring, Phillip (1995). Djuna: The Life and Work of Djuna Barnes. New York: Penguin Books. p. 158. ISBN0-fourteen-017842-2.
23. ^ Milford 2001, pp. 234–239.
24. ^ Milford 2001, pp. 268–275.
25. ^ "Edna St. Vincent Millay". Poesy Foundation. Retrieved June 27, 2013.
26. ^ ^{a b c} "History". Millay Colony for the Arts. Retrieved January 23, 2010.
27. ^ "The Grounds at Steepletop". Edna St. Vincent Millay Society. 2008. Archived from the original on November 21, 2008. Retrieved January 23, 2010.
28. ^ Milford 2001, pp. 368–371.
29. ^ Bryson, Bill. At Home, A Brusk History of Private Life, Random House, 2010, p 111
30. ^ Letter from Millay to Ferdinand Earle, September fourteen, 1940. Quoted in Milford 2001, p. 449
31. ^ Milford 2001, pp. 438–449.
32. ^ "Edna St. Vincent Millay" Vassar Encyclopaedia, Vassar College
33. ^ Rubin, Merle (September 6, 2001). "Lyrical, Rebellious And Well-nigh Forgotten". The Wall Street Journal . Retrieved February 24, 2015.
34. ^ ^{a b} "The Murder of Lidice". Goodreads.
35. ^ [one] "Ghosts of American Literature: Receiving, Reading, and Interleaving Edna St. Vincent Millay'southward The Murder of Lidice". PMLA, the journal of the Mod Language Association of America, Volume 133, Result 5: Special Topic Cultures of Reading. October 2018, pp. 1152 - 1171. ISSN: 0030-8129
36. ^ Milford 2001, p. 442.
37. ^ Millay, Edna St. Vincent (1954). Millay Ellis, Norma (ed.). Mine the Harvest: A collection of new poems. New York: Harper & Brothers.
38. ^ Milford 2001, p. 508.
39. ^ Epstein 2001, p. 273.
40. ^ Wilson, Scott. Resting Places: The Burial Sites of More Than fourteen,000 Famous Persons, 3d ed.: 2 (Kindle Location 32422). McFarland & Company, Inc., Publishers. Kindle Edition.
41. ^ "The Land and Words of Mary Oliver, the Bard of Provincetown", The New York Times, July 5, 2009, retrieved September 7, 2010 .
42. ^ Verse Foundation Oliver biography. Accessed September 7, 2010
43. ^ Cassidy, Benjamin; Hawkeye, The Berkshire. "The Edna St. Vincent Millay Society: Saving Steepletop". The Berkshire Eagle . Retrieved July 14, 2019.
44. ^ "Steepletop Trails". www.millay.org . Retrieved Jan x, 2020.
45. ^ "Nearly the Millay House". Millay House Rockland. Archived from the original on July 28, 2021.
46. ^ Maine Historic Preservation Commission. "Singhi Double Business firm, Knox County, 1891". Archived from the original on July 28, 2021.
47. ^ "Millay House Rockland launches last phase of fundraising for south side". Pen Bay Pilot. November 24, 2020.
48. ^ "Statue of Edna St. Vincent Millay (Camden, Maine)". Waymarking. Archived from the original on July 28, 2021.
49. ^ Millay, Edna St. Vincent (1917). "Renascence". Poetry Foundation. Archived from the original on May 14, 2018.
50. ^ "Edna St. Vincent Millay Biography". Camden Public Library. Archived from the original on March 27, 2015.
51. ^ Milford, Nancy (2002). The Selected Poems of Edna St. Vincent Millay. New York: Random House. ISBN0-375-76123-three.
52. ^ Cohen, Aaron I. (1987). International encyclopedia of women composers (Second edition, revised and enlarged ed.). New York. ISBN0-9617485-ii-4. OCLC 16714846.
53. ^ "Edna St. Vincent Millay | Date Issued:1981-07-10 | Postage Value: 18 cents". USStampGallery.com . Retrieved November 10, 2020.
54. ^ "Maeve Gilchrist Homepage". Archived from the original on Baronial 22, 2006.
55. ^ "Words like Fresh Peel -". Words like Fresh Skin . Retrieved January 10, 2020.
56. ^ "Nonetheless Will be Heard". stillwillbeheard.com. Retrieved November xix, 2021.
57. ^ ""Kindred Spirits: Margaret Bonds and Edna St. Vincent Millay"". Feb 27, 2021.
58. ^ Malcolm Lazin (August 20, 2015). "Op-ed: Here Are the 31 Icons of 2015's Gay History Month". Abet.com. Retrieved Baronial 21, 2015.
59. ^ Michael Browning (August eighteen, 1996). "The Eternal Flame". The Miami Herald. Archived from the original on Dec 17, 2010.
60. ^ Irvin, Richard (2018). The Early on Shows: A Reference Guide to Network and Syndicated Prime number-Time Goggle box Series from 1944 to 1949. Albany, GA: BearManor Media. Retrieved Oct four, 2020.
61. ^ Sinclair, N. et al. (2006). Mathematics and the Aesthetic. New York: Springer. p. 111.
62. ^ Millay, Edna St. Vincent. "Renascence"
63. ^ Millay, Edna St. Vincent. "The Ballad of the Harp-Weaver"
64. ^ "Poesy Pairing: Edna St. Vincent Millay". READ THIS. April 18, 2018. Retrieved January ten, 2020.
65. ^ Millay, Edna St. Vincent. Selected Poems. Harper Collins, 1991
66. ^ Obituary Variety, October 25, 1950.

Farther reading [edit]

• Atkins, Elizabeth (1936). Edna St. Vincent Millay and Her Times. Chicago: University of Chicago Press.
• Barnet, Andrea (2004). All-Night Party: The Women of Bohemian Greenwich Village and Harlem, 1913–1930. Chapel Hill, NC: Algonquin Books. ISBN1-56512-381-6.
• Epstein, Daniel Mark (2001). What Lips My Lips Have Kissed: The Loves and Love Poems of Edna St. Vincent Millay. New York: Henry Holt. ISBN0-8050-6727-2.
• Freedman, Diane P. (editor of this collection of essays) (1995). Millay at 100: A Disquisitional Reappraisal. Southern Illinois University Press.
• Gould, Jean (1969). The Poet and Her Volume: A Biography of Edna St. Vincent Millay. Dodd, Mead & Company.
• Gurko, Miriam (1962). Restless Spirit: The Life of Edna St. Vincent Millay. Thomas Y. Crowell Visitor.
• Milford, Nancy (2001). Fell Beauty: The Life of Edna St. Vincent Millay. New York: Random House. pp. 191–92. ISBN0-375-76081-4.
• Sheean, Vincent (1951). The Indigo Bunting: A Memoir of Edna St. Vincent Millay. Harper.

External links [edit]

• Edna St. Vincent Millay at the Poetry Foundation.
• Millay Society.
• Works by Edna St. Vincent Millay at the Academy of American Poets
• Selected Poetry of Edna St. Vincent Millay—Biography and eighteen poems ("Ashes of Life", "The Betrothal", "Departure", "Dirge", "Ebb", "Feast", "First Fig", "[Iv Sonnets 1922]", "Grown Upward", "Humoresque", "Complaining", "The Penitent", "Recuerdo", "Second Fig", "Sonnets 1923", "Sonnets from an Ungrafted Tree", "Sorrow", "Leap")
• Works past Edna St. Vincent Millay at Project Gutenberg
• Works by Edna St. Vincent Millay at Faded Page (Canada)
• Works by or near Edna St. Vincent Millay at Internet Archive
• Works by or about Edna St. Vincent Millay every bit Nancy Boyd at Internet Archive
• Works past Edna St. Vincent Millay at LibriVox (public domain audiobooks)
• Archive and images at the Smithsonian Institution.
• New York Times Obituary Oct 20, 1950 "Edna St. V. Millay Constitute Dead At 58". Accessed 2010-09-13
• Miriam Gurko-Floyd Dell Papers at The Newberry Library
• Guide to the Edna St. Vincent Millay Collection at Vassar College Archives and Special Collections Library
• Finding assistance to Edna St. Vincent Millay papers, 1928–1941, at Columbia University. Rare Volume & Manuscript Library.
• https://www.discogs.com/Mary-Travers-Morning-Glory/release/1714354

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Source: https://en.wikipedia.org/wiki/Edna_St._Vincent_Millay

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