This complete and unabridged Prestwick House Literary Touchstone Classic(tm) of Edgar Lee Masters' Spoon River Anthology features an extensive glossary and reader's notes to help readers better understand and fully appreciate Masters' work.IN THE TOWN OF SPOON RIVER, ILLINOIS, the dead have been given one final opportunity to speak to the living in the form of epitaphs. Take a stroll through the graveyard; the words on each tombstone create an image of the way the person's life was lived. Together, these tombstones tell of a community that strove for perfection and goodness and relied heavily on faith-but, things don't always turn out as planned... Discover their secrets, heartaches, and regrets; sympathize with their guilt, anger, and sorrow; mourn with those the dead left behind; wander through the history these individuals made through their actions. Ultimately, this cemetery tells of lives that were far from perfect- sometimes, they were even far from good. Through their epitaphs, it becomes clear that these townspeople-neighbors, friends, lovers, family members, and even murderers-saw each other very differently, but now, they all are at rest, as equals, sleeping on the hill.
Spoon River Anthology, by Edgar Lee Masters, is a collection of short free-form poems that collectively narrates the epitaphs of the residents of a fictional small town of Spoon River, named after the real Spoon River that ran near Masters' home town. The aim of the poems is to demystify the rural, small town American life. The collection includes two hundred and twelve separate characters, all providing two-hundred forty-four accounts of their lives and losses. The poems were originally published in the magazine Reedy's Mirror. - Wikipedia.
Masters' Spoon River Anthology (1915) was "the most read and most talked-of volume of poetry that had ever been written in America." The author then returned to the Illinois folk and countryside in a sequel, The New Spoon River (1924). Less well known, even among scholars, are the dozens of other poems Masters set in the area he made famous. Now Herbert K. Russell brings together for the first time the best of these lesser-known poems in a third collection of Spoon River writings, an interesting and useful counterpoint to the brooding diatribes, ironies, and denunciations that make up much of Spoon River Anthology. In these poems Masters has returned to his "heart's home."
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Antología de Spoon River is a collection of poems from the graveyard of a rural Illinois town Spoon River. This book poignantly captures the politics, love, betrayals, alliances, hopes, and failures of this small American town.
Charles Aidman, conceived from Edgar Lee Masters' Spoon River Anthology Dramatic Platform Readings w/incidental music, songs Characters: 3 male, 2 female Bare Stage. Via musical interludes, we are introduced in a cemetery to the ghosts of those who were inhabitants of this town, and whose secrets have gone with them to the grave. There are 60 odd characterizations and vignettes in this constantly interesting entertainment offering an amazingly varied array of
This intimate and provocative autobiography, first published in 1936, reveals the innermost thoughts of a great American poet. Edgar Lee Masters was a transitional figure in American literature with one foot planted in the nineteenth century and the other firmly placed on the path of what we now think of as the modern period.
As the first full-length critical study of Edgar Lee Masters, Beyond Spoon River is important not only for its reevaluation of this American poet and his work but also for its valuable insights into central questions of aesthetics, regionalism, and the nature and meaning of literary influence. The inordinate popularity of Spoon River Anthology has for many years unfairly restricted Masters' reputation as a "one-book phenomenon," although between 1911 and 1942 he wrote over fifty other books—most of which were neglected or misinterpreted precisely because they attempted a large-scale rewriting of what he felt had been obscured or distorted in the Anglo-American tradition. Masters' wide reading in the whole of western literature shaped his own attitudes, themes, and style, and his detailed accounts of that reading and its effect on his work form the basis for this reinterpretation of his place in American poetry in this century. After reviewing Masters' own statements on literary influence and his role as a critic, Primeau devotes the main body of his study to the major influences on Masters' work—the Greeks, Goethe, Emerson, Whitman, Shelley, and Browning. For Masters, the composite of all these influences provided a corrective to the poetry and criticism of his time, which he little admired. Primeau concludes by exploring Masters' midwestern heritage in the light of recent reinterpretations of regionalism.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
In this beautifully haunting play based on Edgar Lee Masters' Spoon River Anthology, the former residents of Spoon River examine life and the longing for what might have been. As the citizens reflect on the dreams, secrets, and regrets of their lives, they paint a gritty and honest portrait of the town as all of their pasts are illuminated.
Surveys the critical reception given the poetry, plays, novels, and biographies of the American writer from 1902 to the 1960's, summarizing the opinions of reviewers, essayists, and literary historians. Bibliogs
1920. American poet and novelist who practiced law for nearly thirty years. Spoon River Anthology is the book that made his reputation and is regarded as one of the most popular and widely known works in all of American literature. Mitch Miller, one of his novels, is mostly about growing up in Illinois. The book begins: Supposin' you was lyin' in a room and was asleep or pretty near asleep; and bein'; asleep you could hear people talkin' but it didn't mean nothin' to you-just talk; and you kind of knew things was goin' on around you, but still you was way off in your sleep and belonged to yourself as a sleeper, and what was goin' on didn't make no difference to you; and really, supposin' you was tryin' to get back into deeper sleep before you heard these things. And then supposin' now and then as your eyes rolled back into your head while sleepin' you saw through the lids-not tryin' to look, but your eyes just saw as they rolled past the open place between the lids-and you saw squares of light and dark, or maybe roundish blurs. See other titles by this author available from Kessinger Publishing.