Nationality words link to articles with information on the nation's poetry or literature (for instance, Irish or France).
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Langston Hughes and the Harlem Renaissance: Crash Course Literature 215
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Harlem Renaissance Poetry
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Have You Earned Your Tomorrow? - Edgar Guest (Inspirational Life Poetry)
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THE RAVEN by Edgar Allan Poe (Best Reading)
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Social Influence: Crash Course Psychology #38
Transcription
Hi, I'm John Green, this is Crash Course Literature, and today we're going to discuss the poetry of Langston Hughes. So the Harlem Renaissance was an early 20th Century movement in which writers and artists of color explored what it means to be an artist, what it means to be black, and what it means to be an American, and also what it means to be all three of those things at the same time. MFTP: Mr. Green, Mr. Green! Does the Harlem Renaissance have anything to do with that renaissance with, like, Leonardo de Vinci, and all of the other... Ninja Turtles? Kind of, but the Harlem Renaissance happened a lot later than the European Renaissance, also on a different continent, and there was much less plague and much more jazz. [INTRO] OK, so one journalist described the Harlem Renaissance this way: "What a crowd! All classes and colors met face to face, ultra aristocrats, bourgeois, communists, Park Avenue galore, bookers, publishers, Broadway celebs, and Harlemites giving each other the once over." What's the once over? Is that a dirty thing, Stan? Apparently it is not a dirty thing. The Harlem Renaissance began just after the First World War and lasted into the early years of the Great Depression because it turns out it's pretty hard to have a renaissance when no one has any money, as they found out in Venice. And like the European Renaissance, it was a social and political movement, but also an artist one. I mean it inspired literature and poetry, music, drama, ethnography, publishing, dance, fashion, probably even some novelty cocktails. As Langston Hughes wrote about this time: "The negro was in vogue." Oh, it must be time for the open letter. Oh, look, it's a floating dictionary. An open letter to language. Hey there language, how's it going? Don't say it's going good, language; say it's going well. So Langston Hughes often used the term "negro" to refer to African Americans, and when we quote him or his poetry we're also going to use that term. But we won't use it when I'm talking about African Americans or the African American experience because these days we understand that term to be offensive. I would argue that this is a good thing about language; it has the opportunity to evolve and to become more inclusive. In short, language, I love you and I am amazed by you every day. Sorry if that sounds creepy; I feel I might start singing the song for The Bodyguards, so I'm just going to stop right now. Best wishes, John Green Right, so, the poems, essays, and novels of the Harlem Renaissance often discuss the so-called double consciousness of the African American experience, a term coined by W.E.B. Dubois in his book The Souls of Black Folk, and which you might remember from our To Kill a Mockingbird episode. Some writers like Countee Cullen, and Claude McKay used poetic forms historically associated with European white people, like the Shakespearean sonnet, the Petrarchan sonnet, and the villanelle, which is like a very fancy sonnet, but other writers, including Langston Hughes, chose forms based on African and African American folk forms, you know, fables and spirituals, children's rhymes, and blues songs. This is actually part of Modernism generally, as artists sought to mix high and low culture in an attempt to reinvent art. Like, see also Marcel Duchamp putting a toilet in an art gallery. I should clarify: there were already toilets in art galleries; he was putting it there as art. Anyway, let's go to the Thought Bubble for some background on Langston Hughes. Hughes was born in 1902 in Missouri to mixed-race parents, who divorced early. He grew up in Kansas and began to write poetry in high school: mostly because white students chose him as class poet. In his autobiography, he wrote: "Well, everyone knows -- except us -- that all Negros have rhythm, so they elected me class poet. I felt I couldn't let my white classmates down and I've been writing poetry ever since." Hughes' father wanted him to become a mining engineer so Hughes went to Columbia University, but he left after his freshman year, in part because other students have snubbed him, and in part because actually he didn't want to become a mining engineer. So he signed on to work on a boat, going more or less around the world, returning a couple of years later, this is true, with a red-haired monkey named Jocko. He didn't enjoy the trip very much but that might actually have been a good thing because as he wrote in his autobiography: "My best poems were all written when I felt the worst. When I was happy, I didn't write anything." Which stands in stark contrast to all the happy poets, you know: Emily Dickinson, Sylvia Plath, Samuel Taylor Coleridge. Hughes aimed to write in accessible, familiar language, and in that he was influenced by poets like Paul Laurence Dunbar, and also people like Carl Sandburg and Walt Whitman, all of whom wrote in vernacular, everyday language in the hopes that their work could appeal to a larger audience. Thanks Thought Bubble. So, as Hughes wrote in a 1927 essay, classical forms didn't support the work he wanted to do: "Certainly the Shakespearean sonnet would be no mold in which to express the life of Beale Street or Lenox Avenue nor could the emotions of State Street be captured in rondeau. I am not interested in doing tricks with rhymes. I am interested in reproducing the human soul, if I can." And this is what makes Hughes such an important poet. He brilliantly combines formal poetry with the oral tradition, and he refuses to draw a bright line between fine art and folk art. OK, in order to have a better understanding of Hughes' approach to poetry, let's look at an early manifesto he wrote called "The Negro Artist and the Racial Mountain." In this essay, he criticizes other black writers for being too interested in white culture and white forms. He writes: "This is the mountain standing in the way of any true Negro art in America-- this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible." Now, some black writers, like Countee Cullen, accused Hughes of being TOO black. Like in a review of Hughes' first book Cullen wrote, "There is too much emphasis of strictly Negro themes." But, then again, later on, James Baldwin would condemn Hughes for not diving deep enough into African American experience; like Baldwin wrote that Hughes poems "take refuge, finally, in a fake simplicity in order to avoid the very difficult simplicity of the experience." It's hard out there for a Langston Hughes. Anyway, let's make up our own mind. I think the best way to get a sense of how Langston Hughes expresses himself is probably to, like, actually read a couple of his poems. Let's begin with "The Negro Speaks of Rivers": "I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset. I've known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers." Here's a bit of news that will be discouraging to most of you aspiring writers out there: Hughes wrote that poem just after graduating from high school. He was riding a train to see his estranged father and he passed over the Mississippi. He writes: "I began to think about what that river, the old Mississippi, had meant to Negros in the past... Then I began to think about other rivers in the past--the Congo, and the Niger, and the Nile in Africa--and the thought came to me: 'I've known rivers,' and I put it down on the back of an envelope I had in my pocket, and within the space of ten or fifteen minutes, as the train gathered speed in the dusk, I had written this poem." Are you even serious? "Ten or fifteen minutes"! What? Really! So "The Negro Speaks of Rivers" is in the lyric mode: it's poetry trying to capture an internal emotional state. He uses the vision of these rivers to transcend his immediate relationships and to connect himself instead to all of his African forefathers, trading the immediate for the immortal. The repetition of "I've known rivers" at the beginning and "my soul has grown deep like the rivers" at the middle and end, gives the poem the feeling of, like, a sermon or spiritual, in keeping with Hughes' use of folk forms. And then, there's the catalog of active verbs: "I bathed", "I built", "I listened", "I looked." Those show people actively participating in human life and having agency; that even amid oppression and dehumanization, these people were still building and listening and looking. And then, in the latter part of the poem, there are adjectives that in other poems might be used pejoratively, like "muddy" and "dusky", that are linked with other adjectives, "golden", "ancient", that encourage us to perceive them in a far more positive light. So, darkness and brownness are seen as lustrous and valuable and revered. And I know that some of you will say, oh, you're overreading the poem: Hughes didn't mean any of this stuff. To which I say: it doesn't matter. These are still interesting and cool uses of language. Although, as it happens, I'm not overreading it. Anyway, let's look at one more poem, "Harlem", written in 1951: "What happens to a dream deferred? Does it dry up like a raisin in the sun? Or fester like a sore— And then run? Does it stink like rotten meat? Or crust and sugar over— like a syrupy sweet? Maybe it just sags like a heavy load. Or does it explode?" The dream here is likely a version of the American dream, a dream that at the time Hughes wrote the poem was still denied to most African Americans. And in that sense, it's kind of optimistic that Hughes uses the term deferred, rather than, like, destroyed or forbidden. There's also a great moment earlier in that same book of poems in which Hughes writes, "Good morning Daddy, aint you heard, the boogie woogie rumble, of a dream deferred", which uses the conventions of blues music to associate the deferral of the dream with, like, a boogie-woogie rumble. But the imagery in this poem is very negative: it often takes things that are sweet and then makes them horrifying. You've got dried raisins, running sores. I guess sores aren't that sweet, but you do have crusty sweets. Even the verbs are negative: "dry", "fester", "stink", "crust", "sag". And that works against any real optimism. This is made even more interesting and complicated by the fact that the poem sounds like a nursery rhyme: it has neat, perfect, one-syllable rhymes like "sun" and "run", "meat" and "sweet". But then you have the layout of the poem, which resists conventional stanzas, and that troubles the simplicity here. Also, the rhythm of the poem is always changing. Like, this isn't straight iambic pentameter or anything like that, and that makes it hard to build into a comfortable pace as the reader. And then there's that last line, "Or does it explode", which from a meter perspective is totally fascinating because there's a stress on every single syllable: Or. Does. It. Ex-plode. I don't want to get too Lit Crit-y on you but it's like the last line itself is trying to explode because there's no break, no relief. So the rhymes make it sound harmless, like it's from a children's book, but the imagery and rhythm tell another, much more barbed story. And this is definitely one of Hughes' more political poems: He's warning that if circumstances don't change, there might be dangerous consequences. This poem proceeded the bulk of the Civil Rights Movement, but it suggests that withholding true equality has real risks and real costs to everyone in a social order. There's so many other great Langston Hughes poems that we don't have time to discuss like: "Dream Boogie", "I, Too", "Dream Variations", "Theme for English B". I want to share just one more with you, no lit crit or anything, just the poem: "Folks I'm tell you, birthing is hard and dying is mean, so get yourself a little lovin, in between." See, sometimes literature is just in the business of proving good advice. Thanks for watching. I'll see you next week. Crash Course is filmed in the Chad and Stacey Emigholz Studio, and it's made with all the help of all of these nice people. It exists because of your support through subbable.com, a voluntary subscription service that allows you to support Crash Course directly. You can find all kinds of great perks on Subbable. Thanks to all our Subbable subscribers for keeping Crash Course free, for everyone, forever. Thanks again for watching, and as we say in my home town, Don't Forget To Be Awesome.
Events
- Poet Cid Corman begins Origin magazine in response to the failure of a magazine that Robert Creeley had planned. The magazine typically features one writer per issue and runs, with breaks, until the mid-1980s. Poets featured include Robert Creeley, Robert Duncan, Larry Eigner, Denise Levertov, William Bronk, Theodore Enslin, Charles Olson, Louis Zukofsky, Gary Snyder, Lorine Niedecker, Wallace Stevens, William Carlos Williams and Paul Blackburn. The magazine also leads to the establishment of Origin Press, which publishes books by a similar range of poets.
- Bad Lord Byron, a film directed by David MacDonald about the Romantic poet.[1]
- Czesław Miłosz, Polish poet, translator, literary critic, future (1980) winner of the Nobel Prize in Literature, becomes an exile this year.
- The Dolmen Press is founded in Dublin, Ireland by Liam and Josephine Miller to provide a publishing outlet for Irish poets and artists. The Press operates in Dublin from 1951 until Liam Miller's death in 1987.[2]
Works published in English
Listed by nation where the work was first published and again by the poet's native land, if different; substantially revised works listed separately:
Canada
- Irving Layton, The Black Huntsmen: Poems. Montreal.[3]
- Tom MacInnes, In the Old of my Age[4]
- Duncan Campbell Scott, Selected Poems, edited by E. K. Brown[4]
- A. J. M. Smith, The Worldly Muse[4]
- Kay Smith, Footnote to the Lord's Prayer and Other Poems[4]
- Raymond Souster, City Hall Street. Toronto: Ryerson.[5]
- Anne Wilkinson, Counterpoint to Sleep[4]
New Zealand
- James K. Baxter, Recent Trends in New Zealand Poetry, scholarship[6]
- Allen Curnow, editor, A Book of New Zealand Verse 1923-50, anthology[7]
- Denis Glover, Sings Harry, New Zealand[8]
- M. H. Holcroft, Discovered Isles, scholarship[6]
- Louis Johnson:
- Charles Spear, Twopence Coloured[10]
- Hubert Witheford, The Falcon Mark[10]
United Kingdom
- W. H. Auden, Nones, including the poem "In Praise of Limestone"[1]
- E. C. Bentley, Clerihews Complete[11]
- Basil Bunting, Seeds, a long poem, published by Poetry magazine
- Roy Campbell, Light on a Dark Horse, autobiography[11]
- Charles Causley:
- Jack Clemo, The Clay Verge[11]
- Keith Douglas, Collected Poems[11]
- Robert Graves, Poems and Satires[11]
- James Kirkup, The Submerged Village, and Other Poems[11]
- John Lehmann, The Age of the Dragon[11]
- Iona and Peter Opie, The Oxford Dictionary of Nursery Rhymes[1]
- Poems of Today, British poetry anthology, fourth series
- Enoch Powell, The Wedding Gift & Dancer’s End (London: Falcon Press,) .[12]
- Anne Ridler, The Golden Bird, and Other Poems[11]
- Alan Ross, Poetry, 1945–1950[11]
- John Wain, Mixed Feelings[11]
United States
- W. H. Auden, Nones,[13] English-born poet living and published in the United States
- John Malcolm Brinnin, The Sorrows of Cold Stone[13]
- John Ciardi, From Time to Time, including "My Father's Watch"[14]
- Langston Hughes, Montage of a Dream Deferred, including "Harlem"[15]
- Randall Jarrell:
- Hugh Kenner, The Poetry of Ezra Pound, highly influential in causing a re-assessment of Pound's poetry (New Directions), criticism
- Robert Lowell, The Mills of the Kavanaughs, New York: Harcourt, Brace[16]
- James Merrill, First Poems[13]
- Marianne Moore, Collected Poems,[14] winner of both the Pulitzer Prize and the National Book Award for poetry in 1952
- Ogden Nash, Parents Keep Out[13]
- Adrienne Rich, A Change of World, her first volume, selected by W. H. Auden for the Yale Series of Younger Poets[14]
- Theodore Roethke, Praise to the End!, 13 long poems about a child's sensibility and developing consciousness[14]
- Louis Simpson, Good News of Death and Other Poems, Jamaican-born poet living in the United States[15]
- Clark Ashton Smith, The Dark Chateau
- Jean Toomer, Cane[15]
- Theodore Weiss, The Catch[13]
- William Carlos Williams:
Other in English
- Nagendranath Gupta, editor and translator, Eastern Poetry, Allahabad: Indian Press, second edition, Bombay: Hind Kitabs (first edition 1929), anthology; Indian poetry in English[17]
- Louis Simpson, ''Good News of Death and Other Poems, Jamaican-born poet living in the United States[15]
- Rex Ingamells, The Great South Land, Melbourne, a history of Australia from primordial times, Australia[18]
Works published in other languages
France
- Pierre Jean Jouve, Ode[19]
- Alphonse Métérié, Proella[20]
- Jacques Prévert:
- Jules Supervielle, Naissances[19]
- Frédéric Jacques Temple, Foghorn
India
In each section, listed in alphabetical order by first name:
- Rajendra Shah, Andolan, Gujarati language[21]
- Binod Chandra Nayak, Oriya:
- Hem Barua, Balichandra, Indian, Assamese[22]
- Mangalacharan Chattopadhyay, Mergh Brsti Jar, Bengali[22]
- Sumitra Kumari Sinha, Panthini, Hindi-language[22]
- Sundaram, Yatra Gujarati language[21]
- V. A. Anandakkuttan, Dipavali, Malayalam[22]
- Naresh Guha, Duranta Dupur, Bengali[22]
- Ajneya, editor, Dusara Saptak, Hindi, influential anthology in the Nai Kavita ("New Poetry") movement, which has been said to have started with this book, which contains poetry from Bhavani Prasad Misra, Sakunta Mathur, Hari Narayan Vyas, Shamasher Bahadur Singh, Naresh Mehta, Raghuvir Sahay and Dharamvir Bharati (see also Tar Saptak 1943)[22]
Other
- Simin Behbahani, Seh-tar-e Shekasteh ("The Broken Lute"), Persia
- Alberto de Lacerda, Poemas, Portugal
- Hushang Ebtehaj (H. E. Sayeh) سراب ("Mirage"), Persian poet published in Iran
- Uri Zvi Greenberg, Reḥovot Hanahar ("The Streets of the River"), poems lamenting the loss of Jews in Europe; Hebrew-language, Israel[23]
- Cesare Pavese, Verrà la morte ed avrà i tuoi occhi ("Death Will Come and Will Have Your Eyes"), Turin: Einaudi; Italy[24]
Awards and honors
- Nobel Prize in Literature: Pär Lagerkvist, Swedish poet, author, playwright and writer
- Guggenheim Fellowship awarded to E.E. Cummings
- National Book Award for Poetry: Wallace Stevens, The Auroras of Autumn
- Pulitzer Prize for poetry: Carl Sandburg, Complete Poems
- Bollingen Prize: John Crowe Ransom
- Canada: Governor General's Award, poetry or drama: The Mulgrave Road, Charles Bruce [25]
Births
Death years link to the corresponding "[year] in poetry" article:
- January 1 – Abul Bashar, Bengali poet and writer
- January 29 – Neil Shepard, American poet, essayist, professor of creative writing and literary magazine editor
- February 23 – Leevi Lehto (died 2019), Finnish poet, translator and programmer
- March 12 – Susan Musgrave, Canadian poet and children's author
- March 21 – Lesley Choyce, Canadian novelist, writer, children's book writer, poet, and academic, founder of Pottersfield Press, host of the television program "Choyce Words" and "Off the Page"; born in the United States and immigrated to Canada in 1979
- April 5 – Lillian Allen, Canadian dub poet
- April 21 – Brigit Pegeen Kelly, American poet and academic, daughter of author Robert Glynn Kelly and married to poet Michael Madonick
- April 22 – Andrew Hudgins, American poet, essayist and academic
- May 9:
- Christopher Dewdney, Canadian poet, writer, artist, creative writing teacher and writer in residence at various universities
- Jorie Graham, American poet and academic
- Joy Harjo, Native-American poet, musician and author
- May 30 – Garrett Hongo, American poet and academic, born in Volcano, Hawaii
- June 20:
- Paul Muldoon Irish poet living in the United States
- Noel Rowe (died 2007), Australian, poet, writer, academic and Roman Catholic priest in the Marist order
- July 10 – Robert Priest, English-born Canadian poet and children's author
- July 25 – Angela Jackson, African American
- September 13 – Suzanne Lummis, American poet, teacher and co-founder of the Los Angeles Poetry Festival
- October 8 – Jenny Boult, also known as "MML Bliss" (died 2005), Australian[26]
- October 12 – Peter Goldsworthy, Australian poet, novelist, short-story writer, opera librettist and medical practitioner
- November 13 – Robert Hilles, Canadian poet and novelist
- December 13 – Anne-Marie Alonzo (died 2005), Canadian playwright, poet, novelist, critic and publisher
- Also:
- Ralph Angel, American poet and translator
- Robin Becker, American[1]
- Peter Boyle, Australian[27]
- Ron Charach, Canadian[1]
- Peter Christensen, Canadian[1]
- Stephen Edgar, Australian poet, editor and indexer
- James Galvin, American poet, novelist and writer
- Robert Harris (died 1993), Australian[28]
- Peter Johnson, American[1]
- Jill Jones, Australian poet and writer
- Anne Kellas, South African poet, critic and editor, immigrant to Australia
- Kim Maltman, Canadian poet and physicist
- Pi O, "П O", Australian poet and anarchist
- Betsy Struthers, Canadian poet and novelist
- Ania Walwicz, Australian poet, writer and artist
- Afaa M. Weaver, American[1]
- Robert Wrigley, American poet and academic
- Eddy Yanofsky, American[1]
- Ray A. Young Bear, American[1]
Deaths
Birth years link to the corresponding "[year] in poetry" article:
- January 17 – Jyoti Prasad Agarwala (born 1903), playwright, songwriter, poet, writer and film maker; Indian, writing in Assamese
- January 31 – Seemab Akbarabadi سیماب اکبرآبادی (born 1882) Urdu poet from India
- April 3 – Henrik Visnapuu (born 1890), Estonian
- June 18 – Angelos Sikelianos (born 1884), Greek
- June 28 – Fumiko Hayashi 林 芙美子 (born 1903 or 1904; sources disagree), novelist, writer and poet (a woman; surname: Hayashi)
- July 3 – Sydney Jephcott (born 1864), Australian poet
- September 18 – Gelett Burgess (born 1866), American artist, art critic, poet, author, and humorist
- December 4 – Pedro Salinas (born 1891), Spanish
- Also:
See also
Notes
- ^ a b c d e f g h i j Web page titled "A Time-Line of Poetry in English" at the Representative Poetry Online website of the University of Toronto, retrieved December 20, 2008
- ^ [1] Archived 2007-11-23 at the Wayback Machine Web page titled "Dolmen Press Collection" at the Wake Forest University Web site, accessed October 20, 2007
- ^ "Irving Layton: Publications Archived 2011-07-14 at the Wayback Machine," Canadian Poetry Online, Web, May 7, 2011.
- ^ a b c d e Gustafson, Ralph, The Penguin Book of Canadian Verse, revised edition, 1967, Baltimore, Maryland: Penguin Books
- ^ "Notes on Life and Works Archived 2011-08-17 at the Wayback Machine," Selected Poetry of Raymond Souster, Representative Poetry Online, UToronto.ca, Web, May 7, 2011.
- ^ a b Preminger, Alex and T.V.F. Brogan, et al., editors, The Princeton Encyclopedia of Poetry and Poetics, 1993, Princeton University Press and MJF Books, "New Zealand Poetry" article, "History and Criticism" section, p 837
- ^ Allen Curnow Web page at the New Zealand Book Council website, accessed April 21, 2008
- ^ "Denis Glover" article in The Encyclopedia of New Zealand, 1966 website, accessed April 21, 2008
- ^ Preminger, Alex and T.V.F. Brogan, et al., editors, The Princeton Encyclopedia of Poetry and Poetics, 1993, Princeton University Press and MJF Books, "New Zealand Poetry" article, "Anthologies" section, p 837
- ^ a b c d Web page titled "The Contemporary Scene" in An Encyclopedia of New Zealand, 1966 website, accessed April 21, 2008
- ^ a b c d e f g h i j k l Cox, Michael, editor, The Concise Oxford Chronology of English Literature, Oxford University Press, 2004, ISBN 0-19-860634-6
- ^ "Works by Enoch Powell". enochpowell.net. Retrieved 2 November 2010.[permanent dead link]
- ^ a b c d e f g h Ludwig, Richard M., and Clifford A. Nault, Jr., Annals of American Literature: 1602–1983, 1986, New York: Oxford University Press ("If the title page is one year later than the copyright date, we used the latter since publishers frequently postdate books published near the end of the calendar year." — from the Preface, p vi)
- ^ a b c d Burt, Daniel S., The Chronology of American Literature, Houghton Mifflin Harcourt, 2004, ISBN 978-0-618-16821-7, retrieved via Google Books, February 14, 2009
- ^ a b c d Richard Ellmann and Robert O'Clair, editors, The Norton Anthology of Modern Poetry, W. W. Norton & Company, 1973, ISBN 0-393-09357-3
- ^ a b c M. L. Rosenthal, The New Poets: American and British Poetry Since World War II, New York: Oxford University Press, 1967, "Selected Bibliography: Individual Volumes by Poets Discussed", pp 334-340
- ^ Joshi, Irene, compiler, "Poetry Anthologies" Archived 2009-08-30 at the Wayback Machine, "Poetry Anthologies" section, "University Libraries, University of Washington" website, "Last updated May 8, 1998", retrieved June 16, 2009. 2009-06-19.
- ^ "Ingamells, Reginald Charles (Rex) (1913 - 1955)", article, Australian Dictionary of Biography online edition, retrieved May 12, 2009. 2009-05-14.
- ^ a b c Auster, Paul, editor, The Random House Book of Twentieth-Century French Poetry: with Translations by American and British Poets, New York: Random House, 1982 ISBN 0-394-52197-8
- ^ a b Brée, Germaine, Twentieth-Century French Literature, translated by Louise Guiney, Chicago: The University of Chicago Press, 1983
- ^ a b Mohan, Sarala Jag, Chapter 4: "Twentieth-Century Gujarati Literature" (Google books link), in Natarajan, Nalini, and Emanuel Sampath Nelson, editors, Handbook of Twentieth-century Literatures of India, Westport, Connecticut: Greenwood Publishing Group, 1996, ISBN 978-0-313-28778-7, retrieved December 10, 2008
- ^ a b c d e f g h Das, Sisir Kumar and various, History of Indian Literature: 1911-1956: struggle for freedom: triumph and tragedy, Volume 2, 1995, published by Sahitya Akademi, ISBN 978-81-7201-798-9, retrieved via Google Books on December 23, 2008
- ^ Carmi, T., The Penguin Book of Hebrew Verse, p 136, Penguin, 1981, ISBN 978-0-14-042197-2
- ^ Web page titled "Cesare Pavese (1908 - 1950)"at the Poetry Foundation website, retrieved April 9, 2009. 2009-05-04.
- ^ "Cumulative List of Winners of the Governor General's Literary Awards Archived 2011-05-14 at the Wayback Machine", Canada Council. Web, Feb. 10, 2011.
- ^ "Poetica - 18 November 2006 - Jenny Boult". ABC Radio National. Retrieved 2007-05-14.
- ^ "MS 9646/Guide to the Papers of Peter Boyle". National Library of Australia. Retrieved 2007-05-14.
- ^ "Australian Poetry Resources". Australian Poetry Resources. Archived from the original on 2007-04-07. Retrieved 2007-05-14.
- ^ Hofmann, Michael, editor, Twentieth-Century German Poetry: An Anthology, Macmillan/Farrar, Straus and Giroux, 2006