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Finding Aid To The Collection Of Lilla Cabot Perry Materials., Lilla Cabot Perry, Colby College Special Collections

Finding Aids

The Collection of Lilla Cabot Perry Materials contains clippings, correspondence, two diaries, published and unpublished manuscripts, a memorial exhibit document, two portrait paintings (William Dean Howells, Edwin Arlington Robinson) and photograph items.

Lilla Cabot Perry (1848-1933) was born in Boston, a member of the prominent Cabot family. She married Thomas Sargeant Perry, a literature professor at Harvard, and through him became friends with writers such as Henry James and William Dean Howells. Perry wrote several volumes of poetry: "Heart of the Weed" (1886), "From the Garden of Hellas" (1891), "Impressions" (1898), and "Jar of Dreams" (1923). Primarily known as an …

Finding Aid To The Collection Of Celia Thaxter Materials, Celia Thaxter, Colby College Special Collections

Finding Aids

Celia Laighton Thaxter, 1835-1894, was an American poet and prose writer. Born Celia Laighton in Portsmouth, N.H., she spent her childhood on White Island Lighthouse, part of Isles of Shoals, and Appledore Island. At 16 she married Levi Thaxter and had three sons, Karl, John, and Roland. The family spent winters on the mainland in Massachusetts, where Celia felt imprisoned by domestic duties in a city house. Her first poem, "Land-locked," was published in 1860 and was an immediate success. Soon she became widely published, with poems appearing in Harper's, Scribner's, and the Atlantic. With the means to spend more …

That’S The Beauty Of It, Or, Why John Ashbery Is Not A Painter, Clark Lunberry

English Faculty Research and Scholarship

The poet John Ashbery lived in Paris from roughly 1955 to 1965. It was during this period that Ashbery began writing art reviews, often examining the work of various Americans also living in Paris at this time. Among the many painters Ashbery was to review and publish about, one was the Chicago-born, Paris-based abstract expressionist Joan Mitchell and an exhibition of hers at a Paris gallery in 1964. In this essay I examine the early, more ““abstract”” poetry that Ashbery was developing during this period, thinking about it alongside the paintings of Mitchell (and, in particular, his writings about them). …