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Carl Sandburg's boyhood home in Galesburg is now operated by the Illinois Historic Preservation Agency as the Carl Sandburg State Historic Site. The site contains the cottage Sandburg was born in, a modern visitor center, and small garden with a large stone called Remembrance Rock, under which his and his wife's ashes are buried. [ 28 ]
Chicago Poems established Sandburg as a major figure in contemporary literature. [5] Chicago Poems , and its follow-up volumes of verse, Cornhuskers (1918) and Smoke and Steel (1920) represent Sandburg's attempts to found an American version of social realism, writing expansive verse in praise of American agriculture and industry.
A vinyl LP of Carl Sandburg reading some of his poems, Carl Sandburg reading Fog and other poems was released on Caedmon (TC 1253) in 1968. Description: 2s. : 33 1 ⁄ 3 rpm, stereo; 12in. Reviewed: J. R. S. (March 1969). "Reviewed work: Recordings from Caedmon. Thoreau: Civil Disobedience. Carl Sandburg Reading "Fog" and Other Poems". The ...
"Chicago" is a poem by Carl Sandburg about the city of Chicago that became his adopted home. It first appeared in Poetry , March 1914, the first of nine poems collectively titled "Chicago Poems". It was republished in 1916 in Sandburg's first mainstream collection of poems, also titled Chicago Poems .
Contributors have included Ezra Pound, W. B. Yeats, William Carlos Williams, Langston Hughes and Carl Sandburg, among others. The magazine also discovered such poets as Gwendolyn Brooks, James Merrill, and John Ashbery. [12] Poetry and the Little Review were "daring" in their editorial championship of the modernist movement. Later editors also ...
The American Songbag is an anthology of American folksongs compiled by the poet Carl Sandburg and published by Harcourt, Brace and Company in 1927. It was enormously popular [1] and was in print continuously for more than seventy years. [2] Melodies from it were used in Alec Wilder's Names from the War (1961).
The People, Yes is a book-length poem written by Carl Sandburg and published in 1936. The 300 page work is thoroughly interspersed with references to American culture, phrases, and stories (such as the legend of Paul Bunyan).
Robert Frost, in a comment regarding Carl Sandburg, later remarked that writing free verse was like "playing tennis without a net." Sandburg responded saying, in part, "There have been poets who could and did play more than one game of tennis with unseen rackets, volleying airy and fantastic balls over an insubstantial net, on a frail moonlight ...