Search results
Results from the WOW.Com Content Network
Steepletop is a 500-acre (200 ha) estate on a hilly, wooded area in the northeastern corner of the town near the Massachusetts state line. Although located within the range of the Taconic Mountains, the area is adjacent to the Berkshire Hills and is considered part of the cultural region of the Berkshires, known for its rich diversity in music, arts and recreation.
Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) was an American lyrical poet and playwright. Millay was a renowned social figure and noted feminist in New York City during the Roaring Twenties and beyond.
Millay Colony for the Arts, an artists' colony in Austerlitz, NY; Edna St. Vincent Millay Society, which holds the intellectual rights to the poet's work and runs Steepletop, the poet's house museum, in Austerlitz, New York
Millay Arts, formerly the Millay Colony for the Arts, is an arts community offering residency-retreats and workshops in Austerlitz, New York, and free arts programs in local public schools. Housed on the former property of feminist/activist poet and playwright Edna St. Vincent Millay , the Colony's campus offers residencies, retreats, and classes.
Love Is Not All: It Is Not Meat nor Drink is a 1931 poem by Edna St. Vincent Millay, written during the Great Depression. [1]The poem was included in her collection Fatal Interview, a sequence of 52 sonnets, appearing alongside other sonnets such as "I dreamed I moved among the Elysian fields," and "Love me no more, now let the god depart," rejoicing in romantic language and vulnerability. [2]
“Wicked,” “Conclave” and “A Complete Unknown” were among the film winners at the 40th annual Casting Society Artios Awards. The ceremony honors top casting in the year’s films, TV ...
"Renascence" is a 1912 poem by Edna St. Vincent Millay, credited with introducing her to the wider world, and often considered one of her finest poems. The poem is a 200+ line lyric poem, written in the first person, broadly encompassing the relationship of an individual to humanity and nature.
The body may "cloud the mind" of the speaker, but her "staggering brain" loses to her own "stout blood," not to her lover's moves in some sexual contest (Millay 7, 10). By positioning the woman as subject, not object, Millay simultaneously fulfills and subverts the conventions of the sonnet. [4]