Edmund Spenser (c. 1552 – 13 January 1599) was an English poet best known for The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor dynasty and Elizabeth I. He is recognised as one of the premier craftsmen of Modern English verse in its infancy, and is considered one of the greatest poets in the English language. Edmund Spenser was born in East Smithfield, London, around the year 1552, though there is some ambiguity as to the exact date of his birth. As a young boy, he was educated in London at the Merchant Taylors' School and matriculated as a sizar at Pembroke College, Cambridge. While at Cambridge he became a friend of Gabriel Harvey and later consulted him, despite their differing views on poetry. In 1578 he became for a short time secretary to John Young, Bishop of Rochester. In 1579 he published The Shepheardes Calender and around the same time married his first wife, Machabyas Childe. In July 1580 Spenser went to Ireland in service of the newly appointed Lord Deputy, Arthur Grey, 14th Baron Grey de Wilton. When Grey was recalled to England, he stayed on in Ireland, having acquired other official posts and lands in the Munster Plantation. At some time between 1587 and 1589 he acquired his main estate at Kilcolman, near Doneraile in North Cork. Among his acquaintances in the area was Walter Raleigh, a fellow colonist. He later bought a second holding to the south, at Rennie, on a rock overlooking the river Blackwater in North Cork. Its ruins are still visible today. A short distance away grew a tree, locally known as "Spenser's Oak" until it was destroyed in a lightning strike in the 1960s. Local legend has it that he penned some of The Faerie Queene under this tree. In 1590 Spenser brought out the first three books of his most famous work, The Faerie Queene, having travelled to London to publish and promote the work, with the likely assistance of Raleigh. He was successful enough to obtain a life pension of £50 a year from the Queen. He probably hoped to secure a place at court through his poetry, but his next significant publication boldly antagonised the queen's principal secretary, Lord Burghley, through its inclusion of the satirical Mother Hubberd's Tale. He returned to Ireland. By 1594 Spenser's first wife had died, and in that year he married Elizabeth Boyle, to whom he addressed the sonnet sequence Amoretti. The marriage itself was celebrated in Epithalamion. In 1596 Spenser wrote a prose pamphlet titled, A View of the Present State of Ireland. This piece, in the form of a dialogue, circulated in manuscript, remaining unpublished until the mid-seventeenth century. It is probable that it was kept out of print during the author's lifetime because of its inflammatory content. The pamphlet argued that Ireland would never be totally 'pacified' by the English until its indigenous language and customs had been destroyed, if necessary by violence. Later on, during the Nine Years War in 1598, Spenser was driven from his home by the native Irish forces of Aodh Ó Néill. His castle at Kilcolman was burned, and Ben Jonson (who may have had private information) asserted that one of his infant children died in the blaze. In the year after being driven from his home, Spenser travelled to London, where he died aged forty-six. His coffin was carried to his grave in Westminster Abbey by other poets, who threw many pens and pieces of poetry into his grave with many tears. His second wife survived him and remarried twice. Rhyme and reason Thomas Fuller included in his Worthies of England a story that The Queen told her treasurer, William Cecil, to pay Spenser one hundred pounds for his poetry. The treasurer, however, objected that the sum was too much. She said, "Then give him what is reason". After a long while without receiving his payment, Spenser gave the Queen this quatrain on one of her progresses: I was promis'd on a time, To have a reason for my rhyme: From that time unto this season, I receiv'd nor rhyme nor reason. She immediately ordered the treasurer pay Spenser the original £100. This story seems to have attached itself to Spenser from Thomas Churchyard, who apparently had difficulty in getting payment of his pension (the only other one Elizabeth awarded to a poet). Spenser seems to have had no difficulty in receiving payment when it was due, the pension being collected for him by his publisher, Ponsonby. The Faerie Queene Spenser's masterpiece is the epic poem The Faerie Queene. The first three books of The Faerie Queene were published in 1590, and a second set of three books were published in 1596. Spenser originally indicated that he intended the poem to consist of twelve books, so the version of the poem we have today is incomplete. Despite this, it remains one of the longest poems in the English language. It is an allegorical work, and can be read (as Spenser presumably intended) on several levels of allegory, including as praise of Queen Elizabeth I. In a completely allegorical context, the poem follows several knights in an examination of several virtues. In Spenser's "A Letter of the Authors," he states that the entire epic poem is "cloudily enwrapped in allegorical devises," and that the aim behind The Faerie Queene was to “fashion a gentleman or noble person in virtuous and gentle discipline.” Shorter poems Spenser published numerous relatively short poems in the last decade of the sixteenth century, almost all of which consider love or sorrow. In 1591 he published Complaints, a collection of poems that express complaints in mournful or mocking tones. Four years later, in 1595, Spenser published Amoretti and Epithalamion. This volume contains eighty-nine sonnets commemorating his courtship of Elizabeth Boyle. In “Amoretti,” Spenser uses subtle humour and parody while praising his beloved, reworking Petrarchism in his treatment of longing for a woman. “Epithalamion,” similar to “Amoretti,” deals in part with the unease in the development of a romantic and sexual relationship. It was written for his wedding to his young bride, Elizabeth Boyle. The poem consists of 365 long lines, corresponding to the days of the year; 68 short lines, claimed to represent the sum of the 52 weeks, 12 months, and 4 seasons of the annual cycle; and 24 stanzas, corresponding to the diurnal and sidereal hours.[citation needed] Some have speculated that the attention to disquiet in general reflects Spenser’s personal anxieties at the time, as he was unable to complete his most significant work, The Faerie Queene. In the following year Spenser released "Prothalamion," a wedding song written for the daughters of a duke, allegedly in hopes to gain favor in the court. The Spenserian stanza and sonnet Spenser used a distinctive verse form, called the Spenserian stanza, in several works, including The Faerie Queene. The stanza's main meter is iambic pentameter with a final line in iambic hexameter (having six feet or stresses, known as an Alexandrine), and the rhyme scheme is ababbcbcc. He also used his own rhyme scheme for the sonnet. Influences and influenced Though Spenser was well read in classical literature, scholars have noted that his poetry does not rehash tradition, but rather is distinctly his. This individuality may have resulted, to some extent, from a lack of comprehension of the classics. Spenser strove to emulate such ancient Roman poets as Virgil and Ovid, whom he studied during his schooling, but many of his best-known works are notably divergent from those of his predecessors.[15] The language of his poetry is purposely archaic, reminiscent of earlier works such as The Canterbury Tales of Geoffrey Chaucer and Il Canzoniere of Francesco Petrarca, whom Spenser greatly admired. Spenser was called a Poets' Poet and was admired by William Wordsworth, John Keats, Lord Byron, and Alfred Lord Tennyson, among others. Walter Raleigh wrote a dedicatory sonnet to The Faerie Queene in 1590, in which he claims to admire and value Spenser’s work more so than any other in the English language. In the eighteenth century, Alexander Pope compared Spenser to “a mistress, whose faults we see, but love her with them all." A View of the Present State of Ireland n his work A View of the present State of Ireland, Spenser devises his ideas to the issues of the nation of Ireland. These views are suspected to not be his own but based on the work of his predecessor, Lord Arthur Grey de Wilton who was appointed Lord Deputy of Ireland in 1580 (Henley 19, 168-69). Lord Grey was a major figure in Ireland at the time and Spenser was influenced greatly by his ideals and his work in the country, as well as that of his fellow countrymen also living in Ireland at the time (Henley 169). The goal of this piece was to show that Ireland was in great need of reform. Spenser believed that “Ireland is a diseased portion of the State, it must first be cured and reformed, before it could be in a position to appreciate the good sound laws and blessings of the nation” (Henley 178). In A View of the present State of Ireland, Spenser categorizes the “evils” of the Irish people into three prominent categories: laws, customs, and religion (Spenser). These three elements work together in creating the disruptive and degraded people. One example given in the work is the native law system called “Brehon Law” which trumps the established law given by the English monarchy (Spenser). This system has its own court and way of dealing with infractions. It has been passed down through the generations and Spenser views this system as a native backward custom which must be destroyed. Spenser also recommended scorched earth tactics, such as he had seen used in the Desmond Rebellions, to create famine. Although it has been highly regarded as a polemical piece of prose and valued as a historical source on 16th century Ireland, the View is seen today as genocidal in intent. Spenser did express some praise for the Gaelic poetic tradition, but also used much tendentious and bogus analysis to demonstrate that the Irish were descended from barbarian Scythian stock. References Wikipedia - http://en.wikipedia.org/wiki/Edmund_Spenser

These are writings from the inner workings of a mind in constant thought about LIFE and everything it entails for the purpose of self-transcendence and with the intention to bring more understanding and healing to my own life and possibly those of others. My journey is one of self-exploration and discovery. Since my beliefs lie on the premise that we are so strongly connected to everything in existence, in getting to know myself I am getting to know the world. Learning about the world teaches me about myself. I find freedom in understanding and expression. My one true love is the paradox of questioning existence.

David Herbert Richards Lawrence (11 September 1885 – 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. His collected works represent an extended reflection upon the dehumanising effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, and instinct. Lawrence’s opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile which he called his “savage pilgrimage”. At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as, “The greatest imaginative novelist of our generation”. Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical “great tradition” of the English novel. Lawrence is now valued by many as a visionary thinker and significant representative of modernism in English literature.

I write poetry. It's my entire life, pretty much. Part of me wants to delete all of this, because most of it is childish and stupid. There is a part of me though that kinda wants to hang on to some of it cause it's part of my history. I no longer have physical copies of any of these, and if I delete it without copying it it'll just be gone. No editing; no rewrites; no revisions. Just gone. Never to return again. What should I do?

Amy Lawrence Lowell (February 9, 1874 – May 12, 1925) was an American poet of the imagist school from Brookline, Massachusetts, who posthumously won the Pulitzer Prize for Poetry in 1926. Amy was born into Brookline’s Lowell family, sister to astronomer Percival Lowell and Harvard president Abbott Lawrence Lowell. She never attended college because her family did not consider it proper for a woman to do so. She compensated for this lack with avid reading and near-obsessive book collecting. She lived as a socialite and travelled widely, turning to poetry in 1902 (age 28) after being inspired by a performance of Eleonora Duse in Europe.

Since I started writing I've found it to be an amazing way of channeling emotions, good and bad. I also find it's easier to speak openly in a poem as opposed to directly to people. Anyway, read my poems, you might as well, you've already read this!

George MacDonald (10 December 1824– 18 September 1905) was a Scottish author, poet, and Christian minister. He was a pioneering figure in the field of fantasy literature and the mentor of fellow writer Lewis Carroll. His writings have been cited as a major literary influence by many notable authors including W. H. Auden, C. S. Lewis, J. R. R. Tolkien, Walter de la Mare, E. Nesbit and Madeleine L’Engle. C. S. Lewis wrote that he regarded MacDonald as his “master”: “Picking up a copy of Phantastes one day at a train-station bookstall, I began to read. A few hours later,” said Lewis, “I knew that I had crossed a great frontier.” G. K. Chesterton cited The Princess and the Goblin as a book that had “made a difference to my whole existence”. Elizabeth Yates wrote of Sir Gibbie, “It moved me the way books did when, as a child, the great gates of literature began to open and first encounters with noble thoughts and utterances were unspeakably thrilling.” Even Mark Twain, who initially disliked MacDonald, became friends with him, and there is some evidence that Twain was influenced by MacDonald. Christian author Oswald Chambers (1874–1917) wrote in Christian Disciplines, vol. 1, (pub. 1934) that “it is a striking indication of the trend and shallowness of the modern reading public that George MacDonald’s books have been so neglected”. In addition to his fairy tales, MacDonald wrote several works on Christian apologetics including several that defended his view of Christian Universalism. Early life George MacDonald was born on 10 December 1824 at Huntly, Aberdeenshire, Scotland. His father, a farmer, was one of the MacDonalds of Glen Coe, and a direct descendant of one of the families that suffered in the massacre of 1692. The Doric dialect of the Aberdeenshire area appears in the dialogue of some of his non-fantasy novels. MacDonald grew up in the Congregational Church, with an atmosphere of Calvinism. But MacDonald never felt comfortable with some aspects of Calvinist doctrine; indeed, legend has itt that when the doctrine of predestination was first explained to him, he burst into tears (although assured that he was one of the elect). Later novels, such as Robert Falconer and Lilith, show a distaste for the idea that God’s electing love is limited to some and denied to others. MacDonald graduated from the University of Aberdeen, and then went to London, studying at Highbury College for the Congregational ministry. In 1850 he was appointed pastor of Trinity Congregational Church, Arundel, but his sermons (preaching God’s universal love and the possibility that none would, ultimately, fail to unite with God) met with little favour and his salary was cut in half. Later he was engaged in ministerial work in Manchester. He left that because of poor health, and after a short sojourn in Algiers he settled in London and taught for some time at the University of London. MacDonald was also for a time editor of Good Words for the Young, and lectured successfully in the United States during 1872–1873. Work George MacDonald’s best-known works are Phantastes, The Princess and the Goblin, At the Back of the North Wind, and Lilith, all fantasy novels, and fairy tales such as “The Light Princess”, “The Golden Key”, and “The Wise Woman”. “I write, not for children,” he wrote, “but for the child-like, whether they be of five, or fifty, or seventy-five.” MacDonald also published some volumes of sermons, the pulpit not having proved an unreservedly successful venue. MacDonald also served as a mentor to Lewis Carroll (the pen-name of Rev. Charles Lutwidge Dodgson); it was MacDonald’s advice, and the enthusiastic reception of Alice by MacDonald’s many sons and daughters, that convinced Carroll to submit Alice for publication. Carroll, one of the finest Victorian photographers, also created photographic portraits of several of the MacDonald children. MacDonald was also friends with John Ruskin and served as a go-between in Ruskin’s long courtship with Rose La Touche. MacDonald was acquainted with most of the literary luminaries of the day; a surviving group photograph shows him with Tennyson, Dickens, Wilkie Collins, Trollope, Ruskin, Lewes, and Thackeray. While in America he was a friend of Longfellow and Walt Whitman. In 1877 he was given a civil list pension. From 1879 he and his family moved to Bordighera in a place much loved by British expatriates, the Riviera dei Fiori in Liguria, Italy, almost on the French border. In that locality there also was an Anglican Church, which he attended. Deeply enamoured of the Riviera, he spent there 20 years, writing almost half of his whole literary production, especially the fantasy work. In that Ligurian town MacDonald founded a literary studio named Casa Coraggio (Bravery House), which soon became one of the most renowned cultural centres of that period, well attended by British and Italian travellers, and by locals. In that house representations were often held of classic plays, and readings were given of Dante and Shakespeare. In 1900 he moved into St George’s Wood, Haslemere, a house designed for him by his son, Robert Falconer MacDonald, and the building overseen by his eldest son, Greville MacDonald. He died on 18 September 1905 in Ashtead, (Surrey). He was cremated and his ashes buried in Bordighera, in the English cemetery, along with his wife Louisa and daughters Lilia and Grace. As hinted above, MacDonald’s use of fantasy as a literary medium for exploring the human condition greatly influenced a generation of such notable authors as C. S. Lewis (who featured him as a character in his The Great Divorce), J. R. R. Tolkien, and Madeleine L’Engle. MacDonald’s non-fantasy novels, such as Alec Forbes, had their influence as well; they were among the first realistic Scottish novels, and as such MacDonald has been credited with founding the “kailyard school” of Scottish writing. His son Greville MacDonald became a noted medical specialist, a pioneer of the Peasant Arts movement, and also wrote numerous fairy tales for children. Greville ensured that new editions of his father’s works were published. Another son, Ronald MacDonald, was also a novelist. Ronald’s son, Philip MacDonald, (George MacDonald’s grandson) became a very well known Hollywood screenwriter. Theology MacDonald rejected the doctrine of penal substitutionary atonement as developed by John Calvin, which argues that Christ has taken the place of sinners and is punished by the wrath of God in their place, believing that in turn it raised serious questions about the character and nature of God. Instead, he taught that Christ had come to save people from their sins, and not from a Divine penalty for their sins. The problem was not the need to appease a wrathful God but the disease of cosmic evil itself. George MacDonald frequently described the Atonement in terms similar to the Christus Victor theory. MacDonald posed the rhetorical question, “Did he not foil and slay evil by letting all the waves and billows of its horrid sea break upon him, go over him, and die without rebound—spend their rage, fall defeated, and cease? Verily, he made atonement!” MacDonald was convinced that God does not punish except to amend, and that the sole end of His greatest anger is the amelioration of the guilty. As the doctor uses fire and steel in certain deep-seated diseases, so God may use hell-fire if necessary to heal the hardened sinner. MacDonald declared, “I believe that no hell will be lacking which would help the just mercy of God to redeem his children.” MacDonald posed the rhetorical question, “When we say that God is Love, do we teach men that their fear of Him is groundless?” He replied, “No. As much as they fear will come upon them, possibly far more.... The wrath will consume what they call themselves; so that the selves God made shall appear.” However, true repentance, in the sense of freely chosen moral growth, is essential to this process, and, in MacDonald’s optimistic view, inevitable for all beings (see universal reconciliation). He recognised the theoretical possibility that, bathed in the eschatological divine light, some might perceive right and wrong for what they are but still refuse to be transfigured by operation of God’s fires of love, but he did not think this likely. In this theology of divine punishment, MacDonald stands in opposition to Augustine of Hippo, and in agreement with the Greek Church Fathers Clement of Alexandria, Origen, and St. Gregory of Nyssa, although it is unknown whether MacDonald had a working familiarity with Patristics or Eastern Orthodox Christianity. At least an indirect influence is likely, because F. D. Maurice, who influenced MacDonald, knew the Greek Fathers, especially Clement, very well. MacDonald states his theological views most distinctly in the sermon Justice found in the third volume of Unspoken Sermons. In his introduction to George MacDonald: An Anthology, C. S. Lewis speaks highly of MacDonald’s theology: “This collection, as I have said, was designed not to revive MacDonald’s literary reputation but to spread his religious teaching. Hence most of my extracts are taken from the three volumes of Unspoken Sermons. My own debt to this book is almost as great as one man can owe to another: and nearly all serious inquirers to whom I have introduced it acknowledge that it has given them great help—sometimes indispensable help toward the very acceptance of the Christian faith. ... I know hardly any other writer who seems to be closer, or more continually close, to the Spirit of Christ Himself. Hence his Christ-like union of tenderness and severity. Nowhere else outside the New Testament have I found terror and comfort so intertwined.... In making this collection I was discharging a debt of justice. I have never concealed the fact that I regarded him as my master; indeed I fancy I have never written a book in which I did not quote from him. But it has not seemed to me that those who have received my books kindly take even now sufficient notice of the affiliation. Honesty drives me to emphasize it.” Bibliography Fantasy * Phantastes: A Fairie Romance for Men and Women (1858) * “Cross Purposes” (1862) * Adela Cathcart (1864), containing “The Light Princess”, “The Shadows”, and other short stories * The Portent: A Story of the Inner Vision of the Highlanders, Commonly Called “The Second Sight” (1864) * Dealings with the Fairies (1867), containing “The Golden Key”, “The Light Princess”, “The Shadows”, and other short stories * At the Back of the North Wind (1871) * Works of Fancy and Imagination (1871), including Within and Without, “Cross Purposes”, “The Light Princess”, “The Golden Key”, and other works * The Princess and the Goblin (1872) * The Wise Woman: A Parable (1875) (Published also as “The Lost Princess: A Double Story”; or as “A Double Story”.) * The Gifts of the Child Christ and Other Tales (1882; republished as Stephen Archer and Other Tales) * The Day Boy and the Night Girl (1882) * The Princess and Curdie (1883), a sequel to The Princess and the Goblin * The Flight of the Shadow (1891) * Lilith: A Romance (1895) Realistic fiction * David Elginbrod (1863; republished as The Tutor’s First Love), originally published in three volumes * Alec Forbes of Howglen (1865; republished as The Maiden’s Bequest) * Annals of a Quiet Neighbourhood (1867) * Guild Court: A London Story (1868) * Robert Falconer (1868; republished as The Musician’s Quest) * The Seaboard Parish (1869), a sequel to Annals of a Quiet Neighbourhood * Ranald Bannerman’s Boyhood (1871) * Wilfrid Cumbermede (1871–72) * The Vicar’s Daughter (1871–72), a sequel to Annals of a Quiet Neighborhood and The Seaboard Parish * The History of Gutta Percha Willie, the Working Genius (1873), usually called simply Gutta Percha Willie * Malcolm (1875) * St. George and St. Michael (1876) * Thomas Wingfold, Curate (1876; republished as The Curate’s Awakening) * The Marquis of Lossie (1877; republished as The Marquis’ Secret), the second book of Malcolm * Paul Faber, Surgeon (1879; republished as The Lady’s Confession), a sequel to Thomas Wingfold, Curate * Sir Gibbie (1879; republished as The Baronet’s Song) * Mary Marston (1881; republished as A Daughter’s Devotion) * Warlock o’ Glenwarlock (1881; republished as Castle Warlock and The Laird’s Inheritance) * Weighed and Wanting (1882; republished as A Gentlewoman’s Choice) * Donal Grant (1883; republished as The Shepherd’s Castle), a sequel to Sir Gibbie * What’s Mine’s Mine (1886; republished as The Highlander’s Last Song) * Home Again: A Tale (1887; republished as The Poet’s Homecoming) * The Elect Lady (1888; republished as The Landlady’s Master) * A Rough Shaking (1891) * There and Back (1891; republished as The Baron’s Apprenticeship), a sequel to Thomas Wingfold, Curate and Paul Faber, Surgeon * Heather and Snow (1893; republished as The Peasant Girl’s Dream) * Salted with Fire (1896; republished as The Minister’s Restoration) * Far Above Rubies (1898) Poetry * Twelve of the Spiritual Songs of Novalis (1851), privately printed translation of the poetry of Novalis * Within and Without: A Dramatic Poem (1855) * Poems (1857) * “A Hidden Life” and Other Poems (1864) * “The Disciple” and Other Poems (1867) * Exotics: A Translation of the Spiritual Songs of Novalis, the Hymn-book of Luther, and Other Poems from the German and Italian (1876) * Dramatic and Miscellaneous Poems (1876) * Diary of an Old Soul (1880) * A Book of Strife, in the Form of the Diary of an Old Soul (1880), privately printed * The Threefold Cord: Poems by Three Friends (1883), privately printed, with Greville Matheson and John Hill MacDonald * Poems (1887) * The Poetical Works of George MacDonald, 2 Volumes (1893) * Scotch Songs and Ballads (1893) * Rampolli: Growths from a Long-planted Root (1897) Nonfiction * Unspoken Sermons (1867) * England’s Antiphon (1868, 1874) * The Miracles of Our Lord (1870) * Cheerful Words from the Writing of George MacDonald (1880), compiled by E. E. Brown * Orts: Chiefly Papers on the Imagination, and on Shakespeare (1882) * “Preface” (1884) to Letters from Hell (1866) by Valdemar Adolph Thisted * The Tragedie of Hamlet, Prince of Denmarke: A Study With the Test of the Folio of 1623 (1885) * Unspoken Sermons, Second Series (1885) * Unspoken Sermons, Third Series (1889) * A Cabinet of Gems, Cut and Polished by Sir Philip Sidney; Now, for the More Radiance, Presented Without Their Setting by George MacDonald (1891) * The Hope of the Gospel (1892) * A Dish of Orts (1893) * Beautiful Thoughts from George MacDonald (1894), compiled by Elizabeth Dougall In popular culture * (Alphabetical by artist) * Christian celtic punk band Ballydowse have a song called “George MacDonald” on their album Out of the Fertile Crescent. The song is both taken from MacDonald’s poem “My Two Geniuses” and liberally quoted from Phantastes. * American classical composer John Craton has utilized several of MacDonald’s stories in his works, including “The Gray Wolf” (in a tone poem of the same name for solo mandolin– 2006) and portions of “The Cruel Painter”, Lilith, and The Light Princess (in Three Tableaux from George MacDonald for mandolin, recorder, and cello– 2011). * Contemporary new-age musician Jeff Johnson wrote a song titled “The Golden Key” based on George MacDonald’s story of the same name. He has also written several other songs inspired by MacDonald and the Inklings. * Jazz pianist and recording artist Ray Lyon has a song on his CD Beginning to See (2007), called “Up The Spiral Stairs”, which features lyrics from MacDonald’s 26 and 27 September devotional readings from the book Diary of an Old Soul. * A verse from The Light Princess is cited in the “Beauty and the Beast” song by Nightwish. * Rock group The Waterboys titled their album Room to Roam (1990) after a passage in MacDonald’s Phantastes, also found in Lilith. The title track of the album comprises a MacDonald poem from the text of Phantastes set to music by the band. The novels Lilith and Phantastes are both named as books in a library, in the title track of another Waterboys album, Universal Hall (2003). (The Waterboys have also quoted from C. S. Lewis in several songs, including “Church Not Made With Hands” and “Further Up, Further In”, confirming the enduring link in modern pop culture between MacDonald and Lewis.) References Wikipedia—https://en.wikipedia.org/wiki/George_MacDonald

Environmental scientist and maybe a poet. I suspect like most people on here I have an urge to write. I've been much buoyed by kind words and likes over the years on this site, despite been in the weeds and not writing for the past few. Now I have my head above the water I can hear my muse again. Thank you kindly for stopping by. I love reading work by others at all stages of their writing journey. Bon Voyage!

Dorothy Parker (August 22, 1893 – June 7, 1967) was an American poet, short story writer, critic and satirist, best known for her wit, wisecracks, and eye for 20th-century urban foibles. From a conflicted and unhappy childhood, Parker rose to acclaim, both for her literary output in such venues as The New Yorker and as a founding member of the Algonquin Round Table. Following the breakup of the circle, Parker traveled to Hollywood to pursue screenwriting. Her successes there, including two Academy Award nominations, were curtailed as her involvement in left-wing politics led to a place on the Hollywood blacklist. Dismissive of her own talents, she deplored her reputation as a “wisecracker”. Nevertheless, her literary output and reputation for her sharp wit have endured.

“The harshest criticism is often the silent reflection from the mirror of ones life” (ATB) Born 1960 Still alive Died - to be determined

Dora Maria Sigerson Shorter (16 August 1866– 6 January 1918) was an Irish poet and sculptor, who after her marriage in 1895 wrote under the name Dora Sigerson Shorter. She was born in Dublin, Ireland, the daughter of George Sigerson, a surgeon and writer, and Hester (née Varian), also a writer. She was a major figure of the Irish Literary Revival, publishing many collections of poetry from 1893. Her friends included Katharine Tynan, Rose Kavanagh and Alice Furlong, writers and poets. In 1895 she married Clement King Shorter, an English journalist and literary critic. They lived together in London, until her death at age 51 from undisclosed causes.

Family is the only thing that matters. God is beautiful and helpful. My mother is a pretty flower that blossoms on the inside. My insurance card is what matters. Fresh Money is what also matters. Red white and blue is America. Got milk? God Speed my love!

William Barnes (22 February 1801– 7 October 1886) was an English writer, poet, Church of England priest, and philologist. He wrote over 800 poems, some in Dorset dialect, and much other work, including a comprehensive English grammar quoting from more than 70 different languages. Barnes was born at Rushay in the parish of Bagber, Dorset, the son of a farmer. His formal education finished when he was 13 years old. Between 1818 and 1823 he worked in Dorchester, the county town, as a solicitor’s clerk, then moved to Mere in neighbouring Wiltshire and opened a school. During his time here he began writing poetry in the Dorset dialect, as well as studying several languages (Italian, Persian, German and French, in addition to Greek and Latin), playing musical instruments (violin, piano and flute) and practising wood-engraving. He married Julia Miles, the daughter of an exciseman from Dorchester, in 1827, then in 1835 moved back to the county town, where again he ran a school. The school was initially in Durngate Street, then was moved to South Street. A second move to another South Street site made the school a neighbour of an architect’s practice where Thomas Hardy was an apprentice. The architect, John Hicks, was interested in literature and the classics, and when disputes about grammar occurred in the practice, Hardy would visit Barnes next door for an authoritative opinion.

Im an actor and writer living in NYC. I used to live in LA. My poetry describes my experiences somewhat of my day to day thoughts. Primarily I started to write poetry to get everything out of my head. So thats kind of me.

Dolores Veintimilla de Galindo (Quito, 12 de julio de 1829 - Cuenca, 23 de mayo de 1857) fue una poeta ecuatoriana del siglo XIX. Durante su corta vida fue la creadora de poemas de corte romántico que están cargados de elementos que asocian a la mujer con el papel de víctima asociados con sentimientos de dolor, tristeza, anhelo del pasado, amores frustrado y pesimismo.​ Fue influenciada por la formación de la subjetividad femenina de su época.​ Su poema “Quejas” está lleno de esos sentimientos que reflejan su estado anímico. El fracaso en su matrimonio con el médico colombiano Sixto Galindo, así como su pensamiento feminista adelantado a la época, marcarían la personalidad y los trabajos posteriores de Dolores. La persecución e incomprensión de la sociedad cuencana la llevó al suicidio.

I have been a hopeless romantic since I was a young boy. I have always been drawn to relationships and the experience of love. The exhilaration and emotions that flood into and coarse through those that are in love is the most intoxicating feeling possible, at least in my opinion. As you read these poems, you are reading my story. I write about my thoughts, my feelings, and my experiences. Forgive me if my writings are not of your flavor as I never did read much poetry from others.

Samuel Langhorne Clemens (November 30, 1835– April 21, 1910), better known by his pen name Mark Twain, was an American writer, humorist, entrepreneur, publisher, and lecturer. Among his novels are The Adventures of Tom Sawyer (1876) and its sequel, the Adventures of Huckleberry Finn (1885), the latter often called “The Great American Novel”.

Hello I love to write from the heart! Hope you enjoy!

John Robinson Jeffers (January 10, 1887 – January 20, 1962) was an American poet, known for his work about the central California coast. Much of Jeffers' poetry was written in narrative and epic form, but he is also known for his shorter verse and is considered an icon of the environmental movement. Influential and highly regarded in some circles, despite or because of his philosophy of "inhumanism," Jeffers believed that transcending conflict required human concerns to be de-emphasized in favor of the boundless whole. This led him to oppose U.S. participation in World War II, a stand that was controversial at the time. Jeffers was born in Allegheny, Pennsylvania (now part of Pittsburgh), the son of a Presbyterian minister and biblical scholar, Reverend Dr. William Hamilton Jeffers, and Annie Robinson Tuttle. His brother was Hamilton Jeffers, who became a well-known astronomer, working at Lick Observatory. His family was supportive of his interest in poetry. He traveled through Europe during his youth and attended school in Switzerland. He was a child prodigy, interested in classics and Greek and Latin language and literature. At sixteen he entered Occidental College. At school, he was an avid outdoorsman, and active in the school's literary societies. After he graduated from Occidental, Jeffers went to the University of Southern California to study at first literature, and then medicine. He met Una Call Kuster in 1906; she was three years older than he was, a graduate student, and the wife of a Los Angeles attorney. In 1910 he enrolled as a forestry student at the University of Washington in Seattle, a course of study that he abandoned after less than one year, at which time he returned to Los Angeles. Sometime before this, he and Una had begun an affair that became a scandal, reaching the front page of the Los Angeles Times in 1912. After Una spent some time in Europe to quiet things down, the two were married in 1913, and moved to Carmel, California, where Jeffers constructed Tor House and Hawk Tower. The couple had a daughter who died a day after birth in 1914, and then twin sons (Donnan and Garth) in 1916. Una died of cancer in 1950. Jeffers died in 1962; an obituary can be found in the New York Times, January 22, 1962. Poetic career In the 1920s and 1930s, at the height of his popularity, Jeffers was famous for being a tough outdoorsman, living in relative solitude and writing of the difficulty and beauty of the wild. He spent most of his life in Carmel, California, in a granite house that he had built himself called "Tor House and Hawk Tower". Tor is a term for a craggy outcrop or lookout. Before Jeffers and Una purchased the land where Tor House would be built, they rented two cottages in Carmel, and enjoyed many afternoon walks and picnics at the "tors" near the site that would become Tor House. To build the first part of Tor House, a small, two story cottage, Jeffers hired a local builder, Michael Murphy. He worked with Murphy, and in this short, informal apprenticeship, he learned the art of stonemasonry. He continued adding on to Tor House throughout his life, writing in the mornings and working on the house in the afternoon. Many of his poems reflect the influence of stone and building on his life. He later built a large four-story stone tower on the site called Hawk Tower. While he had not visited Ireland at this point in his life, it is possible that Hawk Tower is based on Francis Joseph Bigger's 'Castle Séan' at Ardglass, County Down, which had also in turn influenced Yeats' poets tower, Thoor Ballylee. Construction on Tor House continued into the late 1950s and early 1960s, and was completed by his eldest son. The completed residence was used as a family home until his descendants decided to turn it over to the Tor House Foundation, formed by Ansel Adams, for historic preservation. The romantic Gothic tower was named after a hawk that appeared while Jeffers was working on the structure, and which disappeared the day it was completed. The tower was a gift for his wife Una, who had a fascination for Irish literature and stone towers. In Una's special room on the second floor were kept many of her favorite items, photographs of Jeffers taken by the artist Weston, plants and dried flowers from Shelley's grave, and a rosewood melodeon which she loved to play. The tower also included a secret interior staircase – a source of great fun for his young sons. During this time, Jeffers published volumes of long narrative blank verse that shook up the national literary scene. These poems, including Tamar and Roan Stallion, introduced Jeffers as a master of the epic form, reminiscent of ancient Greek poets. These poems were full of controversial subject matter such as incest, murder and parricide. Jeffers' short verse includes "Hurt Hawks," "The Purse-Seine" and "Shine, Perishing Republic." His intense relationship with the physical world is described in often brutal and apocalyptic verse, and demonstrates a preference for the natural world over what he sees as the negative influence of civilization. Jeffers did not accept the idea that meter is a fundamental part of poetry, and, like Marianne Moore, claimed his verse was not composed in meter, but "rolling stresses." He believed meter was imposed on poetry by man and not a fundamental part of its nature. nitially, Tamar and Other Poems received no acclaim, but when East Coast reviewers discovered the work and began to compare Jeffers to Greek tragedians, Boni & Liveright reissued an expanded edition as Roan Stallion, Tamar and Other Poems (1925). In these works, Jeffers began to articulate themes that contributed to what he later identified as Inhumanism. Mankind was too self-centered, he complained, and too indifferent to the "astonishing beauty of things." Jeffers's longest and most ambitious narrative, The Women at Point Sur (1927), startled many of his readers, heavily loaded as it was with Nietzschean philosophy. The balance of the 1920s and the early 1930s were especially productive for Jeffers, and his reputation was secure. In 1934, he made the acquaintance of the philosopher J Krishnamurti and was struck by the force of Krishnamurti's person. He wrote a poem entitled "Credo" which many feel refers to Krishnamurti. In Cawdor and Other Poems (1928), Dear Judas and Other Poems (1929), Descent to the Dead, Poems Written in Ireland and Great Britain (1931), Thurso's Landing (1932), and Give Your Heart to the Hawks (1933), Jeffers continued to explore the questions of how human beings could find their proper relationship (free of human egocentrism) with the divinity of the beauty of things. These poems, set in the Big Sur region (except Dear Judas and Descent to the Dead), enabled Jeffers to pursue his belief that the natural splendor of the area demanded tragedy: the greater the beauty, the greater the demand. As Euripides had, Jeffers began to focus more on his own characters' psychologies and on social realities than on the mythic. The human dilemmas of Phaedra, Hippolytus, and Medea fascinated him. Many books followed Jeffers' initial success with the epic form, including an adaptation of Euripides' Medea, which became a hit Broadway play starring Dame Judith Anderson. D. H. Lawrence, Edgar Lee Masters, Benjamin De Casseres, and George Sterling were close friends of Jeffers, Sterling having the longest and most intimate relationship with him. While living in Carmel, Jeffers became the focal point for a small but devoted group of admirers. At the peak of his fame, he was one of the few poets to be featured on the cover of Time Magazine. He was also asked to read at the Library of Congress, and was posthumously put on a U.S. postage stamp. Part of the decline of Jeffers' popularity was due to his staunch opposition to the United States' entering World War II. In fact, his book The Double Axe and Other Poems (1948), a volume of poems that was largely critical of U.S. policy, came with an extremely unconventional note from Random House that the views expressed by Jeffers were not those of the publishing company. Soon after, his work was received negatively by several influential literary critics. Several particularly scathing pieces were penned by Yvor Winters, as well as by Kenneth Rexroth, who had been very positive in his earlier commentary on Jeffers' work. Jeffers would publish poetry intermittently during the 1950s but his poetry never again attained the same degree of popularity that it had in the 1920s and the 1930s. Inhumanism Jeffers coined the word inhumanism, the belief that mankind is too self-centered and too indifferent to the "astonishing beauty of things." In the famous poem "Carmel Point," Jeffers called on humans to "uncenter" themselves. In "The Double Axe," Jeffers explicitly described inhumanism as "a shifting of emphasis and significance from man to notman; the rejection of human solipsism and recognition of the trans-human magnificence. ... This manner of thought and feeling is neither misanthropic nor pessimist. ... It offers a reasonable detachment as rule of conduct, instead of love, hate and envy ... it provides magnificence for the religious instinct, and satisfies our need to admire greatness and rejoice in beauty." In The Loyalties of Robinson Jeffers,the first in-depth study of Jeffers not written by one of his circle, poet and critic J. Radcliffe Squires addresses the question of a reconciliation of the beauty of the world and potential beauty in mankind: “Jeffers has asked us to look squarely at the universe. He has told us that materialism has its message, its relevance, and its solace. These are different from the message, relevance, and solace of humanism. Humanism teaches us best why we suffer, but materialism teaches us how to suffer.” Influence His poems have been translated into many languages and published all over the world. Outside of the United States he is most popular in Japan and the Czech Republic. William Everson, Edward Abbey, Gary Snyder, and Mark Jarman are just a few recent authors who have been influenced by Jeffers. Charles Bukowski remarked that Jeffers was his favorite poet. Polish poet Czesław Miłosz also took an interest in Jeffers' poetry and worked as a translator for several volumes of his poems. Jeffers also exchanged some letters with his Czech translator and popularizer, the poet Kamil Bednář. Writer Paul Mooney (1904–1939), son of American Indian authority James Mooney (1861–1921) and collaborator of travel writer Richard Halliburton (1900–1939), "was known always to carry with him (a volume of Jeffers) as a chewer might carry a pouch of tobacco ... and, like Jeffers," writes Gerry Max in Horizon Chasers, "worshipped nature ... (taking) refuge (from the encroachments of civilization) in a sort of chthonian mysticism rife with Greek dramatic elements ..." Jeffers was an inspiration and friend to western U.S. photographers of the early twentieth century, including Ansel Adams, Edward Weston, and Morley Baer. In fact, the elegant book of Baer's photographs juxtaposed with Jeffers' poetry, combines the creative talents of those two residents of the Big Sur coast. Although Jeffers has largely been marginalized in the mainstream academic community over the last thirty years, several important contemporary literary critics, including Albert Gelpi of Stanford University, and poet, critic and NEA chairman Dana Gioia, have consistently cited Jeffers as a formidable presence in modern literature. His poem "The Beaks of Eagles" was made into a song by The Beach Boys on their album Holland (1973). Two lines from Jeffers' poem "We Are Those People" are quoted toward the end of the 2008 film Visioneers. Several lines from Jeffers' poem "Wise Men in Their Bad Hours" ("Death's a fierce meadowlark: but to die having made / Something more equal to the centuries / Than muscle and bone, is mostly to shed weakness.") appear in Christopher McCandless' diary. Robinson Jeffers is mentioned in the 2004 film I Heart Huckabees by the character Albert Markovski played by Jason Schwartzman, when defending Jeffers as a nature writer against another character's claim that environmentalism is socialism. Markovski says, "Henry David Thoreau, Robinson Jeffers, the National Geographic Society...all socialists?" Further reading and research The largest collections of Jeffers' manuscripts and materials are in the Harry Ransom Humanities Research Center at the University of Texas at Austin and in the libraries at Occidental College, the University of California, and Yale University. A collection of his letters has been published as The Selected Letters of Robinson Jeffers, 1887–1962 (1968). Other books of criticism and poetry by Jeffers are: Poetry, Gongorism and a Thousand Years (1949), Themes in My Poems (1956), Robinson Jeffers: Selected Poems (1965), The Alpine Christ and Other Poems (1974), What Odd Expedients" and Other Poems (1981), and Rock and Hawk: A Selection of Shorter Poems by Robinson Jeffers (1987). Stanford University Press recently released a five-volume collection of the complete works of Robinson Jeffers. In an article titled, "A Black Sheep Joins the Fold", written upon the release of the collection in 2001, Stanford Magazine commented that it was remarkable that, due to a number of circumstances, "there was never an authoritative, scholarly edition of California’s premier bard" until the complete works published by Stanford. Biographical studies include George Sterling, Robinson Jeffers: The Man and the Artist (1926); Louis Adamic, Robinson Jeffers (1929); Melba Bennett, Robinson Jeffers and the Sea (1936) and The Stone Mason of Tor House (1966); Radcliffe Squires, The Loyalties of Robinson Jeffers (1956); Edith Greenan, Of Una Jeffers (1939); Mabel Dodge Luhan, Una and Robin (1976; written in 1933); Ward Ritchie, Jeffers: Some Recollections of Robinson Jeffers (1977); and James Karman, Robinson Jeffers: Poet of California (1987). Books about Jeffers's career include L. C. Powell, Robinson Jeffers: The Man and His Work (1940; repr. 1973); William Everson, Robinson Jeffers: Fragments of an Older Fury (1968); Arthur B. Coffin, Robinson Jeffers: Poet of Inhumanism (1971); Bill Hotchkiss, Jeffers: The Sivaistic Vision (1975); James Karman, ed., Critical Essays on Robinson Jeffers (1990); Alex Vardamis The Critical Reputation of Robinson Jeffers (1972); and Robert Zaller, ed., Centennial Essays for Robinson Jeffers (1991). The Robinson Jeffers Newsletter, ed. Robert Brophy, is a valuable scholarly resource. In a rare recording, Jeffers can be heard reading his "The Day Is A Poem" (September 19, 1939) on Poetry Speaks – Hear Great Poets Read Their Work from Tennyson to Plath, Narrated by Charles Osgood (Sourcebooks, Inc., c2001), Disc 1, #41; including text, with Robert Hass on Robinson Jeffers, pp. 88–95. Jeffers was also on the cover of Time – The Weekly Magazine, April 4, 1932 (pictured on p. 90. Poetry Speaks). Jeffers Studies, a journal of research on the poetry of Robinson Jeffers and related topics, is published semi-annually by the Robinson Jeffers Association. Bibliography * Flagons and Apples. Los Angeles: Grafton, 1912. * Californians. New York: Macmillan, 1916. * Tamar and Other Poems. New York: Peter G. Boyle, 1924. * Roan Stallion, Tamar, and Other Poems. New York: Boni and Liveright, 1925. * The Women at Point Sur. New York: Liveright, 1927. * Cawdor and Other Poems. New York: Liveright, 1928. * Dear Judas and Other Poems. New York: Liveright, 1929. * Thurso's Landing and Other Poems. New York: Liveright, 1932. * Give Your Heart to the Hawks and other Poems. New York: Random House, 1933. * Solstice and Other Poems. New York: Random House, 1935. * Such Counsels You Gave To Me and Other Poems. New York: Random House, 1937. * The Selected Poetry of Robinson Jeffers. New York: Random House, 1938. * Be Angry at the Sun. New York: Random House, 1941. * Medea. New York: Random House, 1946. * The Double Axe and Other Poems. New York: Random House, 1948. * Hungerfield and Other Poems. New York: Random House, 1954. * The Beginning and the End and Other Poems. New York: Random House, 1963. * Robinson Jeffers: Selected Poems. New York: Vintage, 1965. * Stones of the Sur. Stanford: Stanford University Press, 2001. References Wikipedia—https://en.wikipedia.org/wiki/Robinson_Jeffers

I am from Cecina in Tuscany, Italy. I moved to Davis, California, in 2009. My life experience in Davis has inspired many of my recent poems. I write my poetry only in Italian language. During the last few summer seasons I have been actively sharing my poems in Tuscany where I participate frequently in cultural and poetry events. As a child, after recognizing that I had a gift for poetry, my parents submitted my work in a variety of different contests. In 1989 I won my first prize. Starting in 1998, I published my poetry in newspapers and magazines, mostly in the area of Tuscany where I was raised. My first book, "Sono un Angelo Dimenticato," was published in 1998 from Ed.La Palma; in 2008 a second book, called "Nessuna Musa di Cristallo” was also published. My poem “Sto per lasciare tutto “(English version: “I’m about to leave everything”) was published in USA, for the Davis Poetry Book 2011. My books: "Extreme Fishing" 2011, "I colori dentro" 2016, both available on Amazon. "Sospesa fra due mondi" was published in Italy by Mds Editore, 2019. In 2020 I moved back to my country and I live in Turin where I work as a teacher.

Gilbert Keith Chesterton (29 May 1874 – 14 June 1936) was an English writer, philosopher, Christian apologist, and literary and art critic. He has been referred to as the "prince of paradox". Of his writing style, Time observed: "Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out." Chesterton created the fictional priest-detective Father Brown, and wrote on apologetics. Even some of those who disagree with him have recognised the wide appeal of such works as Orthodoxy and The Everlasting Man. Chesterton routinely referred to himself as an "orthodox" Christian, and came to identify this position more and more with Catholicism, eventually converting to Roman Catholicism from high church Anglicanism. Biographers have identified him as a successor to such Victorian authors as Matthew Arnold, Thomas Carlyle, John Henry Newman and John Ruskin.

raprobate.com for books and artworks

Herman Melville (August 1, 1819– September 28, 1891) was an American novelist, short story writer, and poet of the American Renaissance period best known for Typee (1846), a romantic account of his experiences in Polynesian life, and his whaling novel Moby-Dick (1851). His work was almost forgotten during his last thirty years. His writing draws on his experience at sea as a common sailor, exploration of literature and philosophy, and engagement in the contradictions of American society in a period of rapid change. He developed a complex, baroque style: the vocabulary is rich and original, a strong sense of rhythm infuses the elaborate sentences, the imagery is often mystical or ironic, and the abundance of allusion extends to Scripture, myth, philosophy, literature, and the visual arts.

Oh, you've found me... How?

Thomas Moore (28 May 1779 – 25 February 1852), also known as Tom Moore, was an Irish writer, poet, and lyricist celebrated for his Irish Melodies. His setting of English-language verse to old Irish tunes marked the transition in popular Irish culture from Irish to English. Politically, Moore was recognised in England as a press, or "squib", writer for the aristocratic Whigs; in Ireland he was accounted a Catholic patriot.

“For beautiful eyes, look for the good in others; For beautiful lips, speak only words of kindness; And for poise, do all with the knowledge that you are never alone.” *The poems with stars are my favorites that I've written, although I haven't starred all of my favorites.*

Clarence Michael James Stanislaus Dennis, better kn (own as C. J. Dennis, (7 September 1876– 22 June 1938) was an Australian poet known for his humorous poems, especially “The Songs of a Sentimental Bloke”, published in the early 20th century. Though Dennis’s work is less well known today, his 1916 publication of The Sentimental Bloke sold 65,000 copies in its first year, and by 1917 he was the most prosperous poet in Australian history. Together with Banjo Paterson and Henry Lawson, both of whom he collaborated with, he is often considered among Australia’s three most famous poets. When he died at the age of 61, the Prime Minister of Australia Joseph Lyons suggested he was destined to be remembered as the “Australian Robert Burns”. Biography C. J. Dennis was born in Auburn, South Australia. His father owned hotels in Auburn, and then later in Gladstone and Laura. His mother suffered ill health, so Clarrie (as he was known) was raised initially by his great-aunts, then went away to school, Christian Brothers College, Adelaide as a teenager. At the age of 19 he was employed as a solicitor’s clerk. It was while he was working in this job that, like banker’s clerk Banjo Paterson before him, his first poem was published under the pseudonym “The Best of the Six”. He later went on to publish in The Worker, under his own name, and as “Den”, and in The Bulletin. His collected poetry was published by Angus & Robertson. He joined the literary staff of The Critic in 1897, and after a spell doing odd jobs around Broken Hill, returned to The Critic, serving for a time c. 1904 as editor, to be succeeded by Conrad Eitel. He founded a short-lived literary paper The Gadfly. From 1922 he served as staff poet on the Melbourne Herald. C. J. Dennis is buried in Box Hill Cemetery, Melbourne. The Box Hill Historical Society has attached a commemorative plaque to the gravestone. Dennis is also commemorated with a plaque on Circular Quay in Sydney which forms part of the NSW Ministry for the Arts - Writers Walk series, and by a bust outside the town hall of the town of Laura. Books * Backblock Ballads and Other Verses (1913) * The Songs of a Sentimental Bloke (1915) * The Moods of Ginger Mick (1916) * The Glugs of Gosh (1917) * Doreen (1917) * Digger Smith (1918) * Backblock Ballads and Later Verses (1918) * Jim of the Hills (1919) * A Book for Kids (1921) (reissued as Roundabout, 1935) * Rose of Spadgers (1924) * The Singing Garden (1935) Shorter poems of note “The Austra-laise” (1908) Many shorter works were also published in a wide variety of Australian newspapers and magazines. References Wikipedia—https://en.wikipedia.org/wiki/C._J._Dennis

Seeing is disappearing

Oscar Fingal O'Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish writer and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, plays and the circumstances of his imprisonment, followed by his early death. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote Salome (1891) in French in Paris but it was refused a licence. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late Victorian London.

Hey I'm Shemené this is some of my stuff that I jot throughout the day. I Jot these down as it comes to me. The feeling sets the mood to Write. I don't write to impress but to express and explore what I'm capable of. Please do leave comments and crit if you must.