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H.D.

2007 Schools Wikipedia Selection. Related subjects: Writers and critics

   H.D. in the mid 1910s
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   H.D. in the mid 1910s

   Hilda Doolittle ( September 10, 1886, Bethlehem, Pennsylvania, United
   States – September 27, 1961, Zürich, Switzerland), prominently known
   only by her initials H.D., was an American poet, novelist and
   memoirist.

   She is best known for her association with the key early 20th century
   avant-garde Imagist group of poets, although her later writing
   represents a move away from the Imagist model and towards a distinctly
   feminine version of modernist poetry and prose.

Early life and work

   Hilda Doolittle was born in Bethlehem, Pennsylvania in Pennsylvania's
   Lehigh Valley. Her father, Charles Doolittle, was professor of
   astronomy at Lehigh University and her mother, Helen (Wolle), was a
   Moravian with a strong interest in music. In 1895, Charles Doolittle
   was appointed Flower Professor of Astronomy at the University of
   Pennsylvania, and the family moved to a house in Upper Darby, an
   affluent Philadelphia suburb.

   Doolittle attended Philadelphia's (Society of) Friends Central High
   School, located at Fifteenth and Race streets, graduating in 1903. A
   year earlier, she met and befriended Ezra Pound, who was to play a
   major role both in her private life and her emergence as a writer. In
   1905, he presented her with a sheaf of love poems with the collective
   title Hilda's Book.

   That same year, Doolittle attended Bryn Mawr College to study Greek
   literature, but she left after three terms because of bad grades and
   poor health. While at the college, she met the poets Marianne Moore and
   William Carlos Williams. Her first published writings, some stories for
   children, were published in a local church paper between 1909 and 1913,
   mostly under the name Edith Gray. In 1907, she became engaged to Pound.
   Her father disapproved of Pound, and by the time her father left for
   Europe in 1908, the engagement had been called off. Around this time,
   Doolittle entered into a relationship with a young art student named
   Frances Josepha Gregg. After spending part of 1910 living in New York
   City's Greenwich Village, she sailed to Europe with Gregg and Gregg's
   mother in 1911.

Links in her writings and personal life

   Doolittle was one of the leading figures in the bohemian culture of
   London in the early decades of the century. Her work is noted for its
   use of classical models and its exploration of the conflict between
   lesbian and heterosexual attraction and love, with these struggles
   closely resembling her own life. Although she would marry, and have
   children, her bisexuality surfaced throughout her life. She would
   regularly take female lovers in addition to her male companion at the
   time, and vice-versa.

   Her later poetry also explores traditional epic themes, such as
   violence and war, from a feminist perspective. H.D. was the first woman
   to be granted the American Academy of Arts and Letters medal.

H.D. Imagiste

   Fellow Imagist Richard Aldington was H.D.'s husband from 1913. They
   separated in 1918 and divorced in 1938.
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   Fellow Imagist Richard Aldington was H.D.'s husband from 1913. They
   separated in 1918 and divorced in 1938.

   Pound had already moved to London, where he had started meeting with
   other poets at the Eiffel Tower restaurant in Soho to discuss plans to
   reform contemporary poetry through free verse, the tanka and haiku, and
   the removal of all unnecessary verbiage from poems. Soon after H.D.
   arrived in England, she showed Pound some poems she had written. He was
   impressed by their closeness to the ideas he had been discussing and
   introduced her and another poet, Richard Aldington, to the group.
   Ezra Pound was H.D.'s fiancé for a time and created the pen name H.D.
   Imagiste for her early work.
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   Ezra Pound was H.D.'s fiancé for a time and created the pen name H.D.
   Imagiste for her early work.

   In 1912, during a meeting with H.D. in the British Museum tea room,
   Pound appended the signature H.D. Imagiste to her poetry, creating a
   label that was to stick to the poet for most of her writing life. That
   same year, Harriet Monroe started her Poetry magazine and asked Pound
   to act as foreign editor. In October, he submitted three poems each by
   H.D. and Aldington under the rubric Imagiste. Aldington's poems were in
   the November issue of Poetry and H.D.'s poems, "Hermes of the Ways,"
   "Orchard," and "Epigram", in the January 1913 issue. Imagism as a
   movement was launched with H.D. as its prime exponent.

   Although the early models for the imagist group were Japanese, H.D.
   derived her way of making poems from her reading of Classical Greek
   literature and especially the recently rediscovered works of Sappho, an
   interest she shared with Aldington and Pound, each of whom produced
   versions of the Greek poet's work. In 1915, H.D. and Aldington launched
   the Poets' Translation Series, pamphlets of translations from
   lesser-known Greek and Latin classics. In total, H.D. published three
   volumes of translations from the Greek: Choruses from the Iphigeneia in
   Aulis (1916), Choruses from the Iphigenia in Aulis and the Hippolytus
   of Euripides (1919) and Euripides' Ion (1937), and an original play
   based on Greek models called Hippolytus Temporizes (1927).

   H.D. continued her association with the group until the final issue of
   the Some Imagist Poets anthology in 1917. She and Aldington did most of
   the editorial work on the 1915 anthology. Her work also appeared in
   Aldington's Imagist Anthology 1930. All of her poetry up to the end of
   the 1930s was written in an Imagist mode, with a spare use of language,
   a rhetorical structure based on analogy rather than simile, metaphor or
   symbolism and a classical purity of surface that can often mask an
   underlying dramatic energy. This style of writing was not without its
   critics. In a special Imagist issue of The Egoist magazine in May 1915,
   the poet and critic Harold Monro called H.D.'s early work "petty
   poetry", denoting "either poverty of imagination or needlessly
   excessive restraint".

   Oread, one of her earliest and best-known poems, which was first
   published in the 1915 anthology, serves to illustrate this early style
   well:

          Oread

          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

   Hilda and Pound had by pre-World War I became involved in a romantic
   relationship, with H.D. also developing a romantic interest in a woman
   named Frances Josepha Gregg. Hilda, Gregg and Gregg's mother left for
   Europe, where Hilda began a more serious career as a writer. Her
   relationship with Gregg cooled, and Hilda met a woman named Brigit
   Patmore. Patmore was a writing enthusiast, and the two women became
   involved in an affair. It was Patmore that initially introduced H. D.
   to Richard Aldington.

   H.D. married Aldington in 1913. Their first and only child together, a
   daughter, died at birth in 1915. Aldington and she became estranged
   after he reportedly took a mistress. Shortly after this, Aldington
   answered the national call to serve in the army, and H.D. became
   involved in a close but from all reports platonic relationship with
   D.H. Lawrence. In 1916, her first book, Sea Garden, appeared and she
   became assistant editor of The Egoist, taking over from her husband. In
   1918, her brother Gilbert, a soldier, was killed in action. H.D. moved
   in with a friend of Lawrence's, named Cecil Gray, and became pregnant
   with his child. When Aldington returned from active service he was not
   the same man, changed by war, and he and H.D. formally separated.

   Toward the end of the war, in 1918, H.D. had met British writer Bryher
   (Annie Winifred Ellerman), who was to become and remain her lover for
   the rest of her life. They lived together until 1946, although both
   took numerous other partners during that time, often sharing their male
   lovers. In 1919, H.D.'s daughter Frances Perdita Aldington (although
   the father was not Aldington, but Gray) was born, after H.D. had
   survived a serious bout of influenza. Her father, who had never
   recovered from Gilbert's death, died himself. At this time, H.D. wrote
   one of her very few known statements on poetics, Notes on Thought and
   Vision (published in 1982). 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'.

   H.D. and Aldington attempted to salvage their relationship during this
   time, but he was suffering from the effects of his participation in the
   war, most likely Post Traumatic Stress Disorder, and they became
   estranged, living completely separate lives, but not divorcing until
   1938. From 1920 on, her lesbian relationship with Bryher became closer
   and the pair travelled in Egypt, Greece and the United States before
   eventually settling in Switzerland. In 1921, Bryher became involved in
   a marriage of convenience with Robert McAlmon, which enabled him to
   fund his publishing ventures in Paris by using some of her personal
   wealth for his Contact Press. Both Bryher and H. D. slept with McAlmon
   during this time. Bryher and McAlmon divorced in 1927.

Novels, films and psychoanalysis, continuing life and loves

   In the early 1920s, H.D. started to write three projected cycles of
   novels. The first of these, Magna Graeca, consisted of Palimpsest
   (1921) and Hedylus (1928). These novels use their classical settings to
   explore the poetic vocation, particularly as it applies to women in a
   patriarchal literary culture. The Madrigal cycle consisted of HERmione,
   Bid Me to Live, Paint It Today and Asphodel.

   These novels are largely autobiographical and deal with the development
   of the female artist and the conflict between heterosexual and lesbian
   desire. Possibly because of their closeness to H.D.'s own life and the
   lives of her friends and loved ones, most of them were not published
   until after her death. Kora and Ka and The Usual Star, two novellas
   from the Borderline cycle, were published in 1933.

   1927 was to be a significant year in H.D.'s life. As a writer, she
   completed the first of the Madrigal cycle novels, HERmione, based on
   the pull between lesbian and heterosexual love in her own life. In her
   personal life, her mother had died, her lesbian lover Bryher had
   divorced her husband and H. D.'s lover, McAlmon, only to marry H.D.'s
   new male lover, Kenneth Macpherson.

   After this, H.D., Bryher and Macpherson lived together in what the poet
   and critic Barbara Guest termed a 'menagerie for three.' In 1928, H.D.
   became pregnant but chose to abort the pregnancy in November.

   They set up the magazine Close Up and formed the POOL cinema group to
   write about and make films. Only one POOL film survives in its
   entirety, Borderline ( 1930), starring H.D. and Paul Robeson. In common
   with the Borderline novellas, the film explores extreme psychic states
   and their relationship to surface reality. In addition to acting in
   this film, H.D. wrote explanatory pamphlet to accompany it which was
   published in Close Up.

Psychological problems, paranoia of another Great War

   In 1933, H.D. travelled to Vienna in order to undergo analysis with the
   great Sigmund Freud. She had long been interested in his ideas, which
   is evident from the pamphlet on Borderline as well as some of her
   earlier works. She was referred to him by Bryher's psychoanalyst
   because of her increasing paranoia about the approach of World War II--
   and the first Great War (World War I) had left her feeling shattered.
   She had lost her brother killed in action, her husband suffered from
   Post Traumatic Stress Disorder from combat experiences, and she
   believed that the onslaught of the war indirectly caused the death of
   her child with Aldington: she also believed it was her shock at hearing
   the news about the RMS Lusitania that directly caused her miscarriage.

   The rise of Adolf Hitler signaled another immense war, an idea that she
   found intolerable and was causing her a considerable amount of stress.
   Writing on the Wall, her memoir about this analysis, 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.

World War II and after

   H.D. and Bryher spent the duration of World War II in London. During
   this time, H.D. wrote The Gift, a memoir of her childhood and family
   life in Bethlehem, Pennsylvania, which reflects on people and events in
   her background that helped shape her as a writer. The Gift was
   eventually published in 1982. She also wrote Trilogy, published as The
   Walls do not Fall (1944), Tribute to the Angels (1945) and The
   Flowering of the Rod (1946). This three-part poem on the experience of
   the blitz ranks with Pound's Pisan Cantos and T.S. Eliot's Little
   Gidding as a major modernist response to the war as seen from a
   civilian perspective. The poems also represent the first fruit of her
   new approach to writing poetry, with a much looser and more
   conversational tone and diction being used as well as a more inclusive
   approach to experience. The opening lines of The Walls do not Fall
   clearly and immediately signal H.D.'s break with her earlier Imagist
   poetic: 'An incident here and there, / and rails gone (for guns) / from
   your (and my) old town square.'

   After the war, H.D. and Bryher no longer lived together, but remained
   in contact with occasional sexual encounters. H. D. moved to
   Switzerland where, in the spring of 1946, she suffered a severe mental
   breakdown which resulted in her staying in a clinic until the autumn of
   that year. Apart from a number of trips to the States, H.D. spent the
   rest of her life in Switzerland. In the late 1950s, she underwent more
   treatment, this time with the psychoanalyst Erich Heydt. At Heydt's
   prompting, she wrote End to Torment, a memoir of her relationship with
   Pound, who allowed the poems of Hilda's Book to be included when the
   book was published.

Later writings

   During this decade, she wrote a considerable amount of poetry, most
   notably Helen in Egypt (written 1952–54), a feminist deconstruction of
   male-centred epic poetry which uses Euripides's play Helen as a
   starting point for a reinterpretation of the basis of the Trojan War
   and, by extension, of war itself. This work has been seen by some
   critics, including Jeffrey Twitchell-Waas, as H.D.'s response to
   Pound's Cantos, a work she greatly admired.

   The other poems of this period are "Sagesse", "Winter Love" and
   "Hermetic Definition". These three were published posthumously with the
   collective title Hermetic Definition (1972). The poem "Hermetic
   Definition" 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", written in bed after H.D. had broken her hip in
   a fall, serves as a kind of 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. "Winter Love" was written together with 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.

   In 1960, H.D. was in the U.S. to collect the American Academy of Arts
   and Letters medal. Returning to Switzerland, she suffered a stroke in
   July of 1961 and died a couple of months later in the Klinik Hirslanden
   in Zürich. Her ashes were returned to Bethlehem, and were buried in the
   family plot in the Nisky Hill Cemetery on October 28. Her epitaph
   consists of the following lines from an early poem:

          So you may say,
          Greek flower; Greek ecstasy
          reclaims forever

          one who died
          following intricate song's
          lost measure.

Legacy

   The rediscovery of H.D.'s work from the 1970s onward coincided with,
   and was assisted by, the emergence of a feminist criticism that found
   much to admire in the questioning of gender roles that is so typical of
   her writings. Specifically, those critics who were working to challenge
   the standard view of English-language literary modernism, based on the
   work of such male writers as Pound, Eliot and James Joyce, were able to
   restore H.D. to a more significant position in the history of that
   movement.

   Her writings also have served as a model for a number of more recent
   women poets working in the modernist tradition. Examples include the
   New York School poet Barbara Guest, the Anglo-American poet Denise
   Levertov and the L=A=N=G=U=A=G=E poet Susan Howe. Her influence is not
   limited to women poets. Many male writers, including Robert Duncan and
   Robert Creeley, have acknowledged their debt to her.

Online texts

     * Sea Garden
     * Hymen

Recordings

     * Helen in Egypt read by the author

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