George Sterling (1869–1926)
Autor de The Thirst of Satan: Poems of Fantasy and Terror
Sobre El Autor
Créditos de la imagen: Credit: Arnold Genthe, circa 1906-1914 (Arnold Genthe Collection, LoC Prints and Photographs Division, LC-G4085- 0409)
Obras de George Sterling
The Shadow of the Unattained: The Letters of George Sterling and Clark Ashton Smith (2005) 21 copias
Avatars of Wizardry: Poetry Inspired by George Sterling's "A Wine of Wizardry" and Clark Ashton Smith's "The… (2012) 6 copias
Rosamund : a dramatic poem 3 copias
A Day in the Hills 2 copias
The Evanescent City 2 copias
Beyond the breakers, and other poems 2 copias
Yosemite : an ode 1 copia
The caged eagle, and other poems 1 copia
After sunset 1 copia
Obras relacionadas
American Poetry: The Twentieth Century, Volume One: Henry Adams to Dorothy Parker (2000) — Contribuidor — 437 copias
The Reviewer, Volume I, Numbers 1-12 (April-August 1921) — Contribuidor — 1 copia
The Reviewer, Volume II, Numbers 1-6 (October 1921-March 1922) — Contribuidor — 1 copia
Etiquetado
Conocimiento común
- Fecha de nacimiento
- 1869-12-01
- Fecha de fallecimiento
- 1926-11-17
- Género
- male
- Nacionalidad
- USA
- Lugar de nacimiento
- Sag Harbor, New York, USA
- Lugares de residencia
- San Francisco, California, USA
- Ocupaciones
- poet
- Relaciones
- London, Jack (friend)
Miembros
Reseñas
Listas
También Puede Gustarte
Autores relacionados
Estadísticas
- Obras
- 30
- También por
- 8
- Miembros
- 146
- Popularidad
- #141,736
- Valoración
- 4.1
- Reseñas
- 2
- ISBNs
- 15
- Favorito
- 4
The House of Orchids, and Other Poems, published 1911, was Sterling’s third collection. It contains forty-six poems, written in a late romantic style, tinged with gothic and fantasy elements. The diction is self-consciously poetic; why say “reward” if there’s an archaic synonym like “guerdon” to use in its place?
Most are set at dawn or dusk, some in the night; I recall one set at mid-day. Stars and flowers abound, and fellow humans are scarce. The sea is a recurring image—fitting for Sterling’s role in a budding artist’s colony at Carmel.
His parents had destined him for the priesthood, but he dropped out. A vestige of this is reflected in “At the Grave of Serra.” For the most part, Sterling’s musings centered on a vaguer transcendence; their muddled inchoate intimations me cold. To my taste, the more concrete the poem, the better I liked it. “Ephemeral,” “Remorse,” and “Moonlight in the Pines” are some of those.
A literary critic in 1940 characterized Sterling as “a belated romantic, gained some prominence in a period when American poetry was at an ebb. The tide rose after 1912; Sterling failed to develop and was engulfed.” On the evidence of this collection, I have no reason to quibble with this assessment.… (más)