The Old Road To Paradise Poems Margaret Widdemer 9781286721605 Books
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<title> The Old Road To Paradise Poems
<author> Margaret Widdemer
<publisher> H. Holt and company, 1918
The Old Road To Paradise Poems Margaret Widdemer 9781286721605 Books
Margaret Widdemer (September 30, 1884 - July 14, 1978) in 1919 was the second recipient of a Pulitzer Prize for poetry for her collection titled "The Old Road to Paradise". It was an honor which she shared with Carl Sandburg's "Cornhuskers". As with the previous award in 1918, the award itself was made possible by a grant from The Poetry Society. The collection is arranged in seven sections titled "The Old Road to Paradise", "The Singing Wood", "Being Young", "Womenfolk", "People", "Wistfulness", and "Love Songs"."The Old Road to Paradise" section deals with religious themes, and Margaret draws on Jeanne d'Arc several times in these poems which seem to contrast faith and war to a great degree, nor should this be surprising considering that this was the period of the first World War and one can still hear the echoes of the war in poems like "Next Year", "Good-By, My Lover", and "Poem for a Picture".
"The Singing Wood" moves away from the Christian images of the first section and into mythology. "The Gray Magician" makes me wonder if Tolkien borrowed from Widdemer, given her use of the term Middle Earth and of course the term Gray Magician itself reminds one of Gandolf. Widdemer also looks to Rome and Greece for her imagery in this section, as well as creating her own images such as in "Dream-House".
"Being Young" not surprisingly focuses on the joys of youth as well as some of the sorrows. The feeling one got hearing a train in the distance at night in "Whistle-Fantasy", the anticipation of getting a Valentine along with the fear of not getting one in "Once When We Bought Valentines". There is also the yearning to be older which she artfully discusses in "Song: I Wish I Were Old Now".
"Womenfolk" puts a female perspective on things with poems like "Tea", "Mother-Prayer", and "Discovery", which is short enough to include here:
Within my mirror I could see
Last night as I gazed steadfastly
An old strange thing look out at me;
The smile my grandame used to wear;
Line on proud line it faced me there . . .
I had not known it meant Despair.
"People" includes poems where she is looking at others, and so they are not so connected with her. This includes poems like "In An Office Building", and "A Boy of the Ghetto".
"Wistfulness" describes very well the poems in its section. Poems like "Prescience", and "Once I Met Happiness" are among my favorites from this section.
The last section is also the longest section, and that is "Love Songs". There is a beautiful simplicity to poems like "Denial", and "Other People", and one's heart aches for the writer in a poem such as "And If You Came-", and perhaps the saddest of poems is "Wise People" which is again short enough to include:
I think that we are very strong and wise,
Mocking at love and at the grief thereafter, . . .
For sometimes I forget him in your eyes
And sometimes you forget her in my laughter.
I was not familiar at all with Margaret Widdemer before reading this collection, but I came away with an appreciation for her. I think perhaps the poems which reference the War probably had an impact on this work being chosen at the time, but even without that this is a very strong collection of poems. It will be interesting to look closely at Sandburg's "Cornhuskers" to see how it compares.
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The Old Road To Paradise Poems Margaret Widdemer 9781286721605 Books Reviews
Margaret Widdemer (September 30, 1884 - July 14, 1978) in 1919 was the second recipient of a Pulitzer Prize for poetry for her collection titled "The Old Road to Paradise". It was an honor which she shared with Carl Sandburg's "Cornhuskers". As with the previous award in 1918, the award itself was made possible by a grant from The Poetry Society. The collection is arranged in seven sections titled "The Old Road to Paradise", "The Singing Wood", "Being Young", "Womenfolk", "People", "Wistfulness", and "Love Songs".
"The Old Road to Paradise" section deals with religious themes, and Margaret draws on Jeanne d'Arc several times in these poems which seem to contrast faith and war to a great degree, nor should this be surprising considering that this was the period of the first World War and one can still hear the echoes of the war in poems like "Next Year", "Good-By, My Lover", and "Poem for a Picture".
"The Singing Wood" moves away from the Christian images of the first section and into mythology. "The Gray Magician" makes me wonder if Tolkien borrowed from Widdemer, given her use of the term Middle Earth and of course the term Gray Magician itself reminds one of Gandolf. Widdemer also looks to Rome and Greece for her imagery in this section, as well as creating her own images such as in "Dream-House".
"Being Young" not surprisingly focuses on the joys of youth as well as some of the sorrows. The feeling one got hearing a train in the distance at night in "Whistle-Fantasy", the anticipation of getting a Valentine along with the fear of not getting one in "Once When We Bought Valentines". There is also the yearning to be older which she artfully discusses in "Song I Wish I Were Old Now".
"Womenfolk" puts a female perspective on things with poems like "Tea", "Mother-Prayer", and "Discovery", which is short enough to include here
Within my mirror I could see
Last night as I gazed steadfastly
An old strange thing look out at me;
The smile my grandame used to wear;
Line on proud line it faced me there . . .
I had not known it meant Despair.
"People" includes poems where she is looking at others, and so they are not so connected with her. This includes poems like "In An Office Building", and "A Boy of the Ghetto".
"Wistfulness" describes very well the poems in its section. Poems like "Prescience", and "Once I Met Happiness" are among my favorites from this section.
The last section is also the longest section, and that is "Love Songs". There is a beautiful simplicity to poems like "Denial", and "Other People", and one's heart aches for the writer in a poem such as "And If You Came-", and perhaps the saddest of poems is "Wise People" which is again short enough to include
I think that we are very strong and wise,
Mocking at love and at the grief thereafter, . . .
For sometimes I forget him in your eyes
And sometimes you forget her in my laughter.
I was not familiar at all with Margaret Widdemer before reading this collection, but I came away with an appreciation for her. I think perhaps the poems which reference the War probably had an impact on this work being chosen at the time, but even without that this is a very strong collection of poems. It will be interesting to look closely at Sandburg's "Cornhuskers" to see how it compares.
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