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Although her brother was to become President of Harvard she never entered college, her family considering it not proper for a woman. However she loved books and was an avid reader and collector. A socialite she travelled widely and first began to publish in 1910. Thought to be a lesbian the erotic themes within several of her poems are a wonderful loving tribute to that side of her. She published other poets and was working on a biography of the poet John Keats which brought forth the wonderful line The stigma of oddness is the price a myopic world always exacts of genius.In becoming a major figure in the Imagist movement she clashed with Erza Pound frequently. In 1925 she died of a cerebral haemorrhage at the age of 51. The following year, she won the Pulitzer Prize for Poetry for What's O'Clock.Many samples are at our youtube channel http: \/\/www.youtube.com\/user\/PortablePoetry?feature=mhee The full volume can be purchased from iTunes, Amazon and other digital stores. 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Published at the beginning of her career as an influential imagist devoted to classical poetic themes and forms, Men, Women, and Ghosts is an agile and promising work from a pioneering poet of the early twentieth century. In “Patterns,” the collection’s opening poem, Lowell displays an economy of language and clarity of vision that would define the imagist school, in which she would prove an essential figure: “I walk down garden paths, \/ And all the daffodils \/ Are blowing, and the bright blue squills. \/ […] \/ I too am a rare \/ Pattern. As I wander down \/ The garden paths.” As the speaker of the poem laments the loss of her lover, she remarks: “the man who should loose me is dead, \/ Fighting with the Duke in Flanders, \/ In a pattern called a war. \/ Christ! What are patterns for?” As a poet indebted to tradition and yet interested in the prospect of a modern poetry, as a lesbian and bohemian figure from a prominent Boston family, Lowell was keenly aware of the dangers inherent to “patterns.” Her poems, unique and experimental, are an essential contribution to one of humanity’s oldest art forms. Men, Women, and Ghosts is a vibrant collection from an emerging poet who would come to define the imagist movement throughout her storied career. 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Published at the beginning of her career as an influential imagist devoted to classical poetic themes and forms, A Dome of Many-Coloured Glass is an agile and promising work from a pioneering poet of the early twentieth century. Containing lyric poems, sonnets, verses for children, and a masterful long poem, A Dome of Many-Coloured Glass is a vibrant collection from an emerging poet who would come to define the imagist movement throughout her storied career. In poems like “Azure and Gold,” Lowell displays natural imagery intertwined with the play of words, producing such stanzas as “April had covered the hills \/ With flickering yellows and reds, \/ The sparkle and coolness of snow \/ Was blown from the mountain beds.” From the drama inherent to seasonal change, she extracts a revelation from “the song of birds, \/ Who, swinging unseen under leaves, \/ Made music more eager than words.” In “The Boston Athenaeum,” a masterful long poem on one of the oldest libraries in the United States, she recalls “Long, peaceful hours seated on the floor \/ Of some retired nook, all lined with books, \/ Where reverie and quiet reign supreme!” Personal and public, keenly engaged with tradition while maintaining her own private voice, Lowell’s poems are an essential contribution to one of humanity’s oldest art forms. 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