H.D. | |
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Born | Hilda Doolittle September 10, 1886 Bethlehem, Pennsylvania, US |
Died | September 27, 1961 Zurich, Switzerland | (aged 75)
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Alma mater | Bryn Mawr College |
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Hilda Doolittle (September 10, 1886 – September 27, 1961) was an early modernist poet, novelist and essayist, who published under the pseudonym H.D.. Her long career began in 1911 after she moved to London and co-founded the avant-garde Imagist group of poets with the American expatriate poet and critic Ezra Pound. During this early period her minimalist, free verse works drew international attention.
Doolittle was born in Bethlehem, Pennsylvania to wealthy and educated parents, who relocated the family to Upper Darby in 1896. She attended Bryn Mawr College between 1904 and 1906, where she had her first lesbian relationship. After years of friendship, she developed a romantic relationship with Pound. Their brief engagement was ended by the disapproval of her parents. She followed Pound to London in 1911, where he championed and published her work. She was associate literary editor of the Egoist journal between 1916 and 1917, and was published by the English Review and Transatlantic Review. During World War I, she suffered the death of her brother and the breakup of her 1913 marriage to the writer and poet Richard Aldington. She befriended Sigmund Freud during the 1930s as a patient looking to understand both her war trauma and bisexuality.[1]
During her five decade career, Doolittle wrote in a wide range of genres and formats. Yet she became overly associated with Imagism and Pound, and her later, more complex work was neglected. Following a reappraisal by feminist critics in the 1970s and 1980s, she is today considered one of the foremost 20th-century modernist poets. She was interested in Ancient Greek literature and published numerous translations. Her poetry often borrows from Greek mythology and classical poets, and ranges from the Imagism of her youth to the epic poems composed from the 1940s, of which the best known is "Helen in Egypt" (1952–1954). These works are noted for their incorporation of natural scenes and objects, often used to evoke a particular feeling or mood. She wrote several novels, the best known being "Hedylus" (1928), "Palimpsest" (1926) and "Bid Me to Live" (1960).
Career
Early life
Hilda Doolittle was born on September 10, 1886, into the Moravian community in Bethlehem, Pennsylvania.[2] Her father, Charles, was professor of astronomy at Lehigh University,[3] and her mother, Helen (née Wolle),[4] was a member of the Moravian brotherhood. Hilda was their only daughter in a family of five sons. When he was appointed Professor of Astronomy at the University of Pennsylvania to take charge of the Flower Observatory,[5][6] they moved to the Highland Park neighborhood of Upper Darby. She attended Philadelphia's Friends' Central School and graduated in 1905.[7]
She became acquainted with Ezra Pound as a teenager in 1901. He became a life-long friend and played a major role in her development as a writer. She enrolled at Bryn Mawr College in 1905 to study Greek literature,[8] where she met the poets Marianne Moore and William Carlos Williams. In 1907, Pound gave her Hilda's Book, a handmade vellum binding of twenty-five of his earliest love poems, which he dedicated to her.[9]
She left Bryn Mawr after three terms due to poor grades and a near nervous breakdown, but continued to study at home until 1910.[10][11] She became engaged to Pound in 1905. Although his parents were in favor of the marriage, her parents strongly objected,[8][11] and by the time Pound left for Europe in 1908 the engagement had been called off. She started a relationship with a young female art student at the Pennsylvania Academy of Fine Arts, Frances Josepha Gregg.[12] After moving to New York in 1910, Doolittle began to write poetry. On recommendation by Pound, she published her children's stories on astronomy in a syndicated Presbyterian newsletter, which are now lost;[4][13] she had these and others published between 1909 and 1913 mostly under the name Edith Gray.[14]
Imagism
H.D. travelled to London in May 1911 to holiday with Gregg and Gregg's mother, but decided to stay to develop a career as a writer. Pound introduced her to his friends, including Richard Aldington who became her husband in 1913. The three lived in Church Walk, Kensington—Pound at no. 10, Aldington at no. 8, and Doolittle at no. 6—and worked daily in the British Museum Reading Room.[15] Her relationship with Gregg cooled after she met and became romantically involved with the English writer Brigit Patmore, through whom she was introduced to Aldington.[16]
Pound had already begun to meet with other poets at the Eiffel Tower restaurant in Soho to discuss ideas for reforming contemporary poetry, including by the incorporation of free verse, the brevity of the tanka and haiku forms, and the removal of unnecessary verbiage. Pound, H.D and Aldington became known as the "three original Imagists"–[5] and published a three–point manifesto aiming to 1. achieve direct treatment of the 'thing' whether subjective or objective, 2. use absolutely no word that does not contribute to the presentation, 3. compose poetry in the sequence of the musical phrase, not in the sequence of metronome.[17][18]
Japanese and Far East verse became early sources for the Imagists, and H.D. often visited the print room at the British Museum with Aldington and the curator and poet Laurence Binyon to view Nishiki-e prints and other examples of traditional Japanese verse.[19] She became aware and wary early on that her good looks and sexuality were drawing undue attention and distracting from her work.[20] During a 1912 conversation with Pound, she told him that she found her full name old fashioned and "quaint"; he suggested the signature H.D., an abbreviation she kept for the remainder of her career.[21][22] After he "scrawled the name H.D. Imagiste" at the bottom of the page of her poem "Hermes of the Ways", she adopted H.D. as a pen.[23] Privately he called her "Dryad".[24]
Under the rubric Imagiste, Pound submitted three of H. D.'s poems to Harriet Monroe in October 1912: "Hermes of the Ways" (This is poetry", he told her about it),[23] along with "Orchard" and "Epigram". He included three by Aldington. They were published in January 1913 in Poetry's second issue.[25][26] These early poems are informed by her reading of Classical Greek literature, especially of Sappho,[27] an interest shared with Aldington and Pound. In 1915 she and Aldington launched the Poets' Translation Series of pamphlets based on Greek and Latin classics.[28] She worked on the plays by Euripides, publishing in 1916 a translation of choruses from Iphigeneia at Aulis, in 1919 a translation of choruses from Iphigeneia at Aulis and Hippolytus, an adaptation of Hippolytus called Hippolytus Temporizes (1927), a translation of choruses from The Bacchae and Hecuba (1931), and Euripides' Ion (1937) a loose translation of Ion.[29]
She maintained her association with the group until the last issue of the Some Imagist Poets anthology in 1917. Her work later appeared in Aldington's Imagist Anthology 1930. All of her poetry to the end of the 1930s was written in an Imagist mode, using sparcity of language[30] and a classical, austere purity.[31] The style as not without its critics. In a special Imagist issue of The Egoist magazine in May 1915, the English poet and critic Harold Monro called H.D.'s early work "petty poetry", denoting "either poverty of imagination or needlessly excessive restraint".[32] One of her earliest and best-known poems, "Oread" (1915), illustrates this early style:[33]
Whirl up, sea—
Whirl your pointed pines.
Splash your great pines
On our rocks.
Hurl your green over us—
Cover us with your pools of fir.
World War I and after
H.D. married Aldington in 1913, with her parents and Ezra Pound as witnesses. The following year Pound married Dorothy Shakespear.[22][34] The only child of H.D. and Aldington, a daughter, was stillborn in 1915. He enlisted in the army, after which they drifted apart. He reportedly took a mistress in 1917 and she became involved in a close but platonic relationship with D. H. Lawrence.[35]
Her first book, Sea Garden, was published in 1916. She was appointed assistant editor of The Egoist substituting for her husband from June 1916 as he joined the army.[36] In 1918, her brother Gilbert was killed in action. That March she moved to a cottage in Cornwall with the composer Cecil Gray, a friend of Lawrence. She became pregnant with Gray's child,[37] but by the time she realised she was expecting, the relationship had cooled and Gray had returned to live in London.[38]
She met the wealthy English novelist Bryher (Annie Winifred Ellerman) in Cornwall in July 1918.[39] They lived together on and off until 1950[40] and although both had numerous other partners, Bryher remained her lover for the rest of her life. In 1919, H.D. came close to death during the birth of her daughter Frances Perdita Aldington—fathered by Gray while suffering from war influenza.[41] During this time, her father died, having never recovered from Gilbert's death.[10] In 1919, H.D. wrote one of her few known statements on poetics,[42] Notes on Thought and Vision, which was unpublished until 1982.[43] In this, she speaks of poets (herself included) as belonging to a kind of elite group of visionaries with the power to "turn the whole tide of human thought".[44]
H.D. and Aldington attempted but failed to salvage their relationship, in part because after the war he suffered from post-traumatic stress disorder. They became estranged and lived apart; they did not divorce until 1938, and he was a main inspirations for her 1960 novel Bid me to live.[45]
From 1920, she grew closer with Bryher. Bryher entered a marriage of convenience in 1921 with Robert McAlmon, which allowed him to fund his publishing ventures in Paris by using some of her personal wealth for his Contact Press.[46] In 1923 they travelled Egypt where they attended the opening of Tutankhamun's tomb, and settled in Switzerland that year.[10] Both Bryher and H.D. slept with McAlmon during this time. The couple divorced in 1927.[47]
Novels and psychoanalysis
H.D. wrote three poetry cycles in the early 1920s.[48] The first, Magna Graeca, includes the poems Palimpsest (1921) and Hedylus (1928), which use classical settings to explore the role of a poet, particularly a female's value in a patriarchal literary culture. The following cycles, HERmione, Bid Me to Live, Paint It Today and Asphodel are largely autobiographical and preoccupied with the development of the female artist and the conflict between heterosexual and lesbian desire. The novellas Kora and Ka and The Usual Star from the Borderline cycle were published in 1933, followed by Pilate's Wife, Mira-Mare and Nights.[48] At around the same time, her mother died and Bryher divorced her husband to marry H.D.'s male lover, Kenneth Macpherson. H.D., Bryher and Macpherson lived together and traveled through Europe in what the poet Barbara Guest termed as a "menagerie of three",[49] and the couple adopted H.D.'s daughter, Perdita.[2] They moved to Lake Geneva to live in a Bauhaus villa.[50] She became pregnant for the third time in 1928, but chose to illegally abort the pregnancy in Berlin that November.[51]
In 1927 Bryher and Macpherson founded a monthly magazine, Close Up, as a venue for the discussion of cinema.[10] That year the independent film cinema group POOL or Pool Group was established (largely funded with Bryher's inheritance) and was managed by all three.[52] In the 1930 POOL film Borderline, the actors were H.D. and Bryher and the couple Paul and Eslanda Robeson, the latter acting as wife and husband.[53] The film explores extreme psychic states, racism and interracial relationship.[54] As well as acting in this film, H.D. wrote an explanatory pamphlet to accompany it, which was later published in Close Up.[55]
She began psychoanalysis in 1928 with the Freudian Hanns Sachs,[10] and traveled to Vienna in 1933 for analysis with Sigmund Freud.[56] She had an interest in Freud's theories since 1909 when she read his works in the original German,[57] and was referred by Bryher's psychoanalyst because of her apparent paranoia about the rise of Adolf Hitler. The First World War had left her feeling shattered: she lost her brother in action; her father died in reaction to the loss of his son; her husband was traumatised by combat; and she believed that the shock at hearing of the sinking the RMS Lusitania indirectly caused the miscarriage of her child.[58] She undertook two series of analysis with Freud (March to May 1933 and October to November 1934)[40] and on his request wrote Bid me to Live (published 1960), in which she details her traumatic war experiences.[59] Writing on the Wall, an impressionistic memoir of her sessions with him and a reevaluation of the importance of his psychoanalysis, was written concurrently with Trilogy and published in 1944; in 1956 it was republished with Advent, a journal of the analysis, under the title Tribute to Freud.[60]
World War II and after
Hilda and Bryher spent World War II in London, during which her daughter Perdita became a secretary of the Office of Strategic Services (OSS).[50] Between 1941 and 1943 H.D. wrote The Gift, a short memoir of her childhood in Bethlehem that details the people and events that shaped her.[61] She began the Trilogy series in 1942, comprising three long, unrhyming, and complex volumes of poems: The Walls do not Fall (1944), Tribute to the Angels (1945) and The Flowering of the Rod (1946). The first was written while living in London and details her reactions to the the Blitz and World War II. The following two books compare the ruins of London to those of ancient Egypt and classical Greece; the former of which she had seen during a 1923 visit.[62] The opening lines of The Walls do not Fall clearly and immediately signal her break with her earlier work:
An incident here and there,
and rails gone (for guns)
from your (and my) old town square.[63]
Her relationship with Bryher ended just after the war, although they remained in contact. She moved to Switzerland where she had a severe mental breakdown in the spring of 1946 and took refuge in a clinic until the autumn of that year. Apart from a number of visits to the United States, she spent the rest of her life in Switzerland.[4] In the late 1950s, she underwent further treatment with the psychoanalyst Erich Heydt,[64] and under his direction wrote End to Torment, a memoir of her relationship with Pound.[8]
Late work
Her last and longest epic poem Helen in Egypt was completed between 1952–54 when she was in her 60s, but not published until just before her death in 1961.[65] Based on Euripides' trilogy drama Helen, it imagines Helen of Troy's life after the fall of Troy and her relocation to Egypt, and reconstructs the source material into a feminist reinterpretation,[66][67] and has thus been described as "exploring ... [but] ... concluding" the themes as her earlier work.[65] The poem's long-form and wide historical span is often viewed as a response to Pound's Cantos, which she admired; she referred to Helen in Egypt as "her own cantos".[67]
A compilation of her late poems were published posthumously in 1972 under the title Hermetic Definition. The book takes as its starting points her love for a man 30 years her junior and the line "so slow is the rose to open" from Pound's Canto 106. Sagesse, which she wrote in bed having broken her hip in a fall, serves as a coda to Trilogy, being partly written in the voice of a young female Blitz survivor who finds herself living in fear of the atom bomb.[68] Winter Love was written during the same period as End to Torment and uses as narrator the Homeric figure of Penelope to restate the material of the memoir in poetic form. At one time, H.D. considered appending this poem as a coda to Helen in Egypt.[69][70]
She returned to the United States in 1960 to collect an American Academy of Arts and Letters medal, becoming the first woman to be granted the award.[71]
Death
H.D was left gravely ill after a stroke in July 1961 and ahe died a of a heart attack on September 27, at the Klinik Hirslanden in Zürich.[72] Her ashes were brought to Bethlehem where they were buried in the family plot in the Nisky Hill Cemetery on October 28, 1961.
Her headstone is inscribed with lines from her early poem "Epitaph":
So you may say,
Greek flower; Greek ecstasy
reclaims forever
one who died
following intricate song's
lost measure.[73]
Appraisal
During her long career, H.D. wroted a large number of works in a variety of styles and formats. They evolved from lyrics written as a teenager (such as Sea Gardens), through her early period Imagist poems and free verse, to her longer and more complex "epic" poems of which the more important include her "Trilogy" (1944–1946), "Helen in Egypt" (1961),[74] and the three-volume Hermetic Definition. Yet, during her lifetime, these later poems, novels or her numerous translations of classical works were rarely studied or taught, and only early poems such as "Oread" or "Heat" appeared in anthologies. For decades her reputation was stuck as an Imagist who peaked in the 1920s; a consignment the literary critic Susan Friedman believes placed H.D. as "a captive and in prison."[70] In 1972 Hugh Kenner wrote that assigning her as just an imagist poet was similar to evaluating "five of the shortest pieces in Harmonium [as equal to] the life's work of Wallace Stevens".[60] In fact, although Pound claimed in the 1930s that he formed the Imagist movement "to launch H.D. and Aldington before either had enough stuff for a volume", many the foundational poets within the group, including Amy Lowell, viewed H.D. as the main focal point and innovator in achieving "a revolution in taste".[75][76]
H.D. was aware early on that the strictures of Imagism and Pound's control would limit and constrain her creative voice, and by the mid-1920s was attempting to break "beyond Imagism".[77] She further realised the dangers of objectification by the male writers in her circle who perceived her merely as their private muse, particularly Pound, which she feared affected her public image and standing as a poet and prominent intellectual in her own right.[78][79] The issue of female objectification is explored in "HER", with H.D explaining, "a classic dilemma for woman: the necessity to choose between being a muse to another or being an artist oneself".[78] Although Pound was a lifelong champion, a number of other early Imagists attempted to diminish her importance and consign her to a minor role.[22] Similarly, although her mid-period poems and writings display explorations of mysticism, esotericism and the occult, similar to poets such as W.B. Yeats (with whom she was personally acquainted), H.D. was rarely mentioned in contemporary surveys.[80]
Although the critic Linda Wagner wrote in 1969 that "it's is one of the ironies of contemporary literature that H.D. is remembered chiefly for her Imagist work given that few writers have written so much in their maturity",[65] her reappraisal only began in the 1970s and 1980s. This coincided with the emergence of a feminist and later, LGBT, criticism movement that found much to admire in the questioning of gender roles typical of her writings.[81] Specifically, critics such as Friedman (1981), Janice Robertson (1982) and Rachel DuPlessis (1986) began to challenge the standard view of English-language literary modernism as based on only the work of male writers, and gradually restored H.D. to a more significant position in the movement.[60][22] In 1990 the scholar Gertrude Reif Hughes wrote that H.D. mid-century poems, like those of Gwendolyn Brooks, anticipate Second-wave feminism, and explore many issues raised in Simone de Beauvoir's 1949 book The Second Sex. According to Hughes, H.D. challenged patriarchal privilege and "revise the mentalities that sponsor them", and notes in particular how in Helen in Egypt, she positions Helen as "the protagonist, instead of the pawn", and thus reversing some of the "conservative and often misogynistic modernism" tendencies of Pound and T. S. Eliot.[82]
Legacy
Her writings have served as a model for a number of more recent female poets working in the modernist and post-modernist traditions, including the New York School poet Barbara Guest, the Anglo-American poet Denise Levertov, the Black Mountain poet Hilda Morley and the Language poet Susan Howe.[83] Her influence is not limited to female poets; many male writers and poets, including Robert Duncan[84] and Robert Creeley,[85] have acknowledged their debt. The Dutch poet H.C. ten Berge wrote his 2008 "Het vertrapte mysterie" ("The Trampled Mystery") in memory of H.D..[86]
Selected works
Poetry
- Oread (1915)
- Heath (1915)
- Sea Garden (1916)
- The God (1917)
- Choruses from the Iphigeneia in Aulis and The Hippollytus of Euripides (1919)
- Translations (1920)
- Hymen (1921)
- Heliodora and Other Poems (1924)
- Hippolytus Temporizes (1927)
- Red Roses for Bronze (1931)
- "The Mysteries: Renaissance Choros" (1931)
- Euripides' Ion (1937)
- Trilogy (1944–1946)[62]
- "The Walls Do Not Fall" (1944)
- "Tribute to the Angels" (1945)
- "The Flowering of the Rod" (1946)
- Vale Ave (1957–58)[87]
- Helen in Egypt (written 1952–1954, published 1961)
- Hermetic Definition (completed 1961, published 1972)[88]
- "Hermetic Definition"
- "Sagesse"
- "Winter Love"
Novels[89]
- Notes on Thought and Vision (1919)
- Paint it Today (1921)
- Asphodel (1921–22)
- Palimpsest (1926)
- Kora and Ka (1930)
- Nights (1935)
- The Hedgehog (1936)
- Majic Ring (1943–44)
- Pilate's Wife (1929–1934)
- The Sword Went Out to Sea (1946––47)
- White Rose and the Red (1948)
- The Mystery (1948–51)
- Tribute to Freud (1956)
- Bid Me to Live (1960)
- End to Torment: A Memoir of Ezra Pound, (1979)
- HERmione, (posthumously 1981)
- The Gift, (posthumously 1982)
Notes
- ^ Bertram (1997), p. 39
- ^ a b Scott, Bonnie Kime. "The Oxford Companion to Women's Writing in the United States". Oxford University Press, 1995.
- ^ Champion; Nelson. (2000), p. 87
- ^ a b c Dembo (1969), pp. 435–347
- ^ a b Gates (1992), p. 5
- ^ Moody (2007), p. 34
- ^ Friedman (1991), p. 32
- ^ a b c King (1981), p. 348
- ^ King (1981), p. 347
- ^ a b c d e Johnson Lewis, Jone (June 5, 2021). "Biography of Hilda Doolittle, Poet, Translator, and Memoirist". ThoughtCo. Retrieved March 7, 2022.
- ^ a b Barnstone (1998), p. 78
- ^ "Doolittle, Hilda (1886–1961) Archived June 27, 2015, at the Wayback Machine". New England Publishing Associates. Retrieved on October 5, 2007.
- ^ Bryer; Roblye (1969), p. 632
- ^ Friedman (1991), p. 47
- ^ Moody (2007), p. 180
- ^ Hollenberg (1983), p. 36
- ^ Hatlen (1995), p. 107–130
- ^ Elder (1998), pp. 72, 94
- ^ Arrowsmith (2011), pp. 103–164
- ^ Hatlen (1995), pp. 109–110
- ^ Doolittle (1979), p. 18
- ^ a b c d Barnstone (1998), p. 79
- ^ a b Friedman (1991), p. 87
- ^ Moody (2007), p. 35
- ^ Korg (1950), p. 31
- ^ Friedman (1991), p. 87
- ^ Keeling, Bret L. "H.D. and 'The Contest': Archaeology of a Sapphic gaze". Twentieth Century Literature (Summer 1998). Retrieved on October 6, 2007.
- ^ Barnstone (1998), p. 203
- ^ Camper, (2004), p. xi
- ^ Marshall; Johnston, Cristin (2005), p. 560
- ^ Ward (2007), p. 241
- ^ King (1981), p. 220
- ^ Gilbert (1979), p. 157
- ^ Pearson, Norman Holmes; Dembo, L. S. (1969) p. 437
- ^ Firchow (1980), pp. 51–76
- ^ Friedman (1991), p. 35
- ^ Champion; Sampath (2000), p. 88
- ^ Korg (2003), p. 50
- ^ Parker (2014), p. 132
- ^ a b Blau DuPlessis (1981), p. 417
- ^ Friedman (1990), p. 9
- ^ Blau DuPlessis (1986), p. 40
- ^ Laity (1996), p. 80
- ^ McCabe (2002), p. 81
- ^ Kelvin (2000), p. 185
- ^ Caserio (2004), pp. 400–402
- ^ Freud; H.D.; Friedman (2002), p. 568
- ^ a b Friedman (1992), pp. 839–840
- ^ Kakutani, Michiko. "Herself Defined. The Poet H. D. and Her World". Book review, New York Times, January 4, 1984. Retrieved June 25, 2022.
- ^ a b "Perdita Macpherson Schaffner (1919–2001)". www.imagists.org. Retrieved May 16, 2022.
- ^ Freud; H.D.; Friedman (2002), p. 567
- ^ Connor (2004), p. 19
- ^ Walton (1997), p. 88
- ^ Walton (1997), pp. 89–90
- ^ Mandel (1980), pp. 127–35.
- ^ Billington, James H. "The Individual: Therapy and Theory Archived April 26, 2016, at the Wayback Machine." Library of Congress. Retrieved on October 7, 2007.
- ^ McCabe (2015), p. 33
- ^ Willis (2007), pp. 86
- ^ Chisholm (1990), p. 96
- ^ a b c Friedman (1975), p. 801
- ^ Morris (1986), pp. 493–498
- ^ a b "The Walls Do Not Fall by H.D.". British Museum. Retrieved June 25, 2022
- ^ Anthology. "Sagetrieb." University of Michigan, 2008. 49.
- ^ Friedman (1987), p. 20
- ^ a b c Wagner (1969), p. 523
- ^ Glaser (2005), p. 91
- ^ a b Twitchell-Waas (1998), pp. 464–483
- ^ De Roche (2021), p. 312
- ^ Sword (1995), pp. 347–62
- ^ a b Friedman (1975), p. 808
- ^ Beate; Newton (1996), p. 40
- ^ "Hilda Doolittle, Poet, Dead at 75. Imagist Who Signed Works H.D. Wrote Novel in 1960 Archived August 23, 2013, at the Wayback Machine". New York Times September 29, 1961. Retrieved on November 23, 2008.
- ^ Martz, (1983), p. 299
- ^ Friedman (1991), p. xi
- ^ Engel (1969), p. 507
- ^ Hatlen (1995), p. 108
- ^ Hatlen (1995), pp. 108–110
- ^ a b Parker (2014), p. 131
- ^ Hughes (1990), p. 378
- ^ Friedman (1975), p. 802
- ^ Ramsay, Tamara Ann (1998). Discursive departures: A reading paradigm affiliated with feminist, lesbian, aesthetic and queer practices (with reference to Woolf, Stein and H.D.) Archived May 29, 2016, at the Wayback Machine (M.A. thesis) Wilfrid Laurier University
- ^ Hughes (1990), p. 376
- ^ Clippinger, David. "Resurrecting the Ghost: H.D., Susan Howe, and the Haven of Poetry Archived March 4, 2016, at the Wayback Machine". Retrieved on October 7, 2007.
- ^ Keenaghan (2005), pp. 57–90
- ^ Wagner (1983), pp. 103–4
- ^ "Meester van de variatie". De Reactor (in Dutch). Retrieved June 21, 2022.
- ^ Friedman (1975), pp. 801–814
- ^ Quinn (1977), p. 51
- ^ Bryer; Roblyer (1969), pp. 632–675
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- Beate, Lohser; Newton, Peter M. Unorthodox Freud: The View from the Couch. New York: Guilford Press, 1996. ISBN 978-1-5723-0128-3
- Bertram, Vicki. "Kicking Daffodils: Twentieth-century Women Poets". Edinburgh: Edinburgh University Press, 1997. ISBN 0-7486-0782-X
- Blau DuPlessis, Rachel. "H.D., the Career of that Struggle: The Career of That Struggle". Indiana: Indiana University Press, 1986. ISBN 978-0-2533-2702-4
- Blau DuPlessis, Rachel; Friedman, Susan. "'Woman Is Perfect': H.D.'s Debate with Freud." Feminist Studies, volume 7, No. 3, Autumn 1981. JSTOR 3177758
- Bryer, Jackson; Roblyer, Pamela. "H. D.: A Preliminary Checklist". Contemporary Literature, volume 10, number 4, special number on H. D.: "A Reconsideration", Autumn, 1969. JSTOR 1207704
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- Chisholm, Dianne. "H. D.'s Autoheterography". Tulsa Studies in Women's Literature, volume 9, number 1, Spring 1990. JSTOR 464182
- Connor, Rachel. H.D. and the Image. Manchester, Manchester University Press, 2004. ISBN 0-7190-6122-9
- Dembo, L.S.. "Norman Holmes Pearson on H. D.: An Interview". Contemporary Literature, volume 10, issue 4, 1969. JSTOR 1207690
- De Roche, Linda. Twentieth-Century and Contemporary American Literature in Context. Greenwood Press, 2021. ISBN 978-1-4408-5358-6
- Doolittle, Hilda. "H. D., and Ezra Pound, End to Torment: A Memoir of Ezra Pound." New York: New Directions, 1979. ISBN 978-0-8112-0720-1
- Elder, R. Bruce (1998). The Films of Stan Brakhage in the American Tradition of Ezra Pound, Gertrude Stein and Charles Olson. Waterloo, Canada: Wilfrid Laurier University Press. ISBN 978-0-8892-0275-7
- Engel, Bernard. "H. D.: Poems That Matter and Dilutations". Contemporary Literature, volume 10, number 4, Autumn 1969. JSTOR 1207693
- Evans, Amy. "Accurate Mystery: Robert Duncan's H.D. Bibliography, Critically Annotated". Journal of Cultural and Religious Theory, volume 10, number 2, Spring 2010
- Firchow, Peter. "Rico and Julia: The Hilda Doolittle: D. H. Lawrence Affair Reconsidered". Journal of Modern Literature, volume 8, number 1, 1980. JSTOR 3831310
- Friedman, Susan. Analyzing Freud: The Letters of H.D., Bryher, and Their Circle. New Directions, 2002. ISBN 978-0-8112-1499-5
- Friedman, Susan. "Gender, Modernity; H.D.'s Fiction". American Literature, 64, number 4, December 1992
- Friedman, Susan. Signets: Reading H.D.. Madison: University of Wisconsin Press, 1991. ISBN 978-0-2991-2680-3
- Friedman, Susan. Penelope's Web: Gender, Modernity, and H.D.'s Fiction. New York: Cambridge UP, 1990. ISBN 978-0-5212-5579-0
- Friedman, Susan. Psyche Reborn: The Emergence of H.D.. Indiana University Press, 1987. ISBN 978-0-2532-0449-3
- Friedman, Susan. "Who Buried H. D.? A Poet, Her Critics, and Her Place in 'The Literary Tradition'". College English, volume 36, No. 7, March 1975. JSTOR 375177
- Guest, Barbara. Herself Defined: The Poet H.D. and Her World. Collins, 1985. ISBN 978-0-3851-3129-2
- Gates, Norman. Richard Aldington: An Autobiography in Letters. Pennsylvania State University Press, 1992. ISBN 978-0-2710-0832-5
- Gilbert, Sandra; Gubar, Susan. "Shakespeare's Sisters: Feminist Essays on Women Poets". Indiana University Press, 1979. ISBN 978-0-2532-0263-5
- Glase, BB. "H.D.'s "Helen in Egypt": Aging and the Unconscious". Journal of Modern Literature, volume 28, number 4, 2005. JSTOR 25167543
- Keenaghan, Eric. "Vulnerable Households: Cold War Containment and Robert Duncan's Queered Nation". Journal of Modern Literature, 28, number 4, Summer 2005
- Kelvin, Norman. H.D. and the Years of World War I. Victorian Poetry, volume 38, issue 1, 2000. JSTOR 40004298
- King. Michael. "Go, little book: Ezra Pound, Hilda Doolittle and 'Hilda's Book'". Paideuma: Modern and Contemporary Poetry and Poetics, volume 10, number 2, Fall 1981. JSTOR 24725256
- Korg, Jacob. Winter Love: Ezra Pound and H.D.. Madison: University of Wisconsin Press, 2003. ISBN 978-0-2991-8390-5
- Harrell, Sarah Grace. H.D.'s incantations: Reading "Trilogy" as an occultist's creed. M.A. diss. The University of Alabama at Birmingham, 2010. AAT 1488037
- Hatlen, Burton. "The Imagist Poetics of H.D.'s Sea Garden". Paideuma, volume 24, issue 3, 1995. JSTOR 24726520
- Hollenberg, Donna Krolik. Winged Words: The Life and Work of the Poet H.D.. University of Michigan Press, 1983. ISBN 978-0-472-22006-9
- Hughes, Gertrude Reif. "Making it Really New: Hilda Doolittle, Gwendolyn Brooks, and the Feminist Potential of Modern Poetry". American Quarterly, volume 42, No. 3, September 1990. JSTOR 2712940
- Laity, Cassandra. "H.D. and the Victorian Fin de Siècle". Cambridge: Cambridge University Press, 1996. ISBN 978-0-5215-5414-5
- Lucas, Rose. "Reviewed Work: H. D.'s Freudian Poetics: Psychoanalysis in Translation by Dianne Chisholm". Tulsa Studies in Women's Literature, volume 12, number 1, Spring 1993. JSTOR 978-0-8014-2474-8
- Marshall, Bill & Johnston, Cristina. "France and the Americas: Culture, Politics, and History." ABC-CLIO, 2005. ISBN 978-1-8510-9411-0
- Martz, Louis. Collected Poems 1912–1944, By H. D. (Hilda Doolittle). New York: New Directions, 1983. ISBN 978-0-8112-0876-5
- Mandel, Charlotte. "Garbo/Helen: The self-projection of beauty by H.D.". Women's Studies 7, 1980
- McCabe, Susan. "H. D. & Bryher: An Untold Love Story of Modernism". Oxford: Oxford University Press, 2002. ISBN 978-0-1906-2122-3
- McCabe, Susan. "Cinematic Modernism: Modernist Poetry and Film." Cambridge: Cambridge University Press, 2015. ISBN 978-0-5218-4621-9
- Moody, A. David. Ezra Pound: Poet. A Portrait of the Man and His Work. I: The Young Genius 1885–1920. Oxford: Oxford University Press, 2007. ISBN 978-0-19-957146-8
- Morris, Adalaide. How to Live / What to Do: H.D.'s Cultural Poetics. Chicago: University of Illinois Press, 2003. ISBN 978-0-2520-7591-9
- Morris, Adalaide. "A Relay of Power and of Peace: H. D. and the Spirit of the Gift". Contemporary Literature, volume 27, number 4, Winter 1986. JSTOR 1208493
- Parker, Sarah (ed). The Lesbian Muse and Poetic Identity, 1889–1930. London: Pickering & Chatto, 2014. ISBN 978-1-84893-386-6
- Quinn, Vincent. "H. D.'s "Hermetic Definition": The Poet as Archetypal Mother". Contemporary Literature, volume 18, number 1, Winter 1977. JSTOR 1207850
- Sword, Helen. "H.D.'s Majic Ring". Tulsa Studies in Women's Literature volume 14, number 2, Autumn 1995
- Taylor, Georgina. H.D. and the public sphere of modernist women writers. Oxford: Oxford University Press, 2001
- Twitchell-Waas, Jeffrey. "H.D.'s 'Helen in Egypt' as a response to Pound's 'Cantos'". Twentieth Century Literature, volume 44, number 4, Winter 1998. JSTOR 441594
- Wagner, Linda. "The Lost America of Love: Rereading Robert Creeley, Edward Dorn, and Robert Duncan." South Atlantic Review, 48.2, 1983
- Wagner, Linda. ""Helen in Egypt": A Culmination". Contemporary Literature, volume 10, number 4, Special Number on H. D.: A Reconsideration, Autumn 1969. JSTOR 1207694
- Walton, Jean. "Nightmare of the Uncoordinated White-Folk: Race, Psychoanalysis, and Borderline". Discourse, volume 19, issue 2, 1997. JSTOR 41389446
- Ward, Alfred Charles. "Longman Companion to Twentieth Century Literature." University of Michigan, 2007. ASIN: B000RY1UE4
- Willis, Elizabeth. "A Public History of the Dividing Line: H.D., the Bomb, and the Roots of the Postmodern". Arizona Quarterly, volume 63, number 1, Spring 2007. Project MUSE 211841
External links
- H.D. Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
- Numerous archival resources are listed on ArchiveGrid.
- Works by H.D. at Project Gutenberg
- Works by H.D. at LibriVox (public domain audiobooks)
- H.D. at Modern American Poetry
- May Sinclair on H.D. in The Fortnightly Review, 1927