Professional Documents
Culture Documents
Robert Frost was born in San Francisco, but his family moved to Lawrence,
Massachusetts, in 1884 following his father’s death. The move was actually a
return, for Frost’s ancestors were originally New Englanders, and Frost became
famous for his poetry’s “regionalism,” or engagement with New England locales,
identities, and themes. Frost graduated from Lawrence High School, in 1892, as
class poet (he also shared the honor of co-valedictorian with his wife-to-be Elinor
White), and two years later, the New York Independentaccepted his poem entitled
“My Butterfly,” launching his status as a professional poet with a check for
$15.00.
To celebrate his first publication, Frost had a book of six poems privately printed;
two copies of Twilight were made—one for himself and one for his fiancee. Over
the next eight years, however, he succeeded in having only thirteen more poems
published. During this time, Frost sporadically attended Dartmouth and Harvard
and earned a living teaching school and, later, working a farm in Derry, New
Hampshire. But in 1912, discouraged by American magazines’ constant rejection
of his work, he took his family to England, where he found more professional
success. Continuing to write about New England, he had two books published, A
Boy’s Will (1913) and North of Boston (1914), which established his reputation
so that his return to the United States in 1915 was as a celebrated literary figure.
Holt put out an American edition of North of Boston in 1915, and periodicals that
had once scorned his work now sought it.
The Road not taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Emily Dickinson is one of America’s greatest and most original poets of all
time. She took definition as her province and challenged the existing definitions
of poetry and the poet’s work. Like writers such as Ralph Waldo Emerson, Henry
David Thoreau, and Walt Whitman, she experimented with expression in order to
free it from conventional restraints. Like writers such as Charlotte
Brontë and Elizabeth Barrett Browning, she crafted a new type of persona for the
first person. The speakers in Dickinson’s poetry, like those in Brontë’s and
Browning’s works, are sharp-sighted observers who see the inescapable
limitations of their societies as well as their imagined and imaginable escapes. To
make the abstract tangible, to define meaning without confining it, to inhabit a
house that never became a prison, Dickinson created in her writing a distinctively
elliptical language for expressing what was possible but not yet realized. Like the
Concord Transcendentalists whose works she knew well, she saw poetry as a
double-edged sword. While it liberated the individual, it as readily left him
ungrounded. The literary marketplace, however, offered new ground for her work
in the last decade of the 19th century. When the first volume of her poetry was
published in 1890, four years after her death, it met with stunning success. Going
through eleven editions in less than two years, the poems eventually extended far
beyond their first household audiences.