The Vers Libre Contest
Reading edition
At last after many months the prize contest has been decided. I know very little about prize contests, but I imagine that there has never been one in the history of poetry which could boast so many really bad poems. Personally I think there are not more than four or five with any suggestion of poetry in them: the rest are either involuntarily humorous, like the one printed at the end, or pompously anachronistic like the one which asks: “Shall I with frantic hands unloose the cord that binds me to this life?”
The judges were Eunice Tietjens, Helen Hoyt, and William Carlos Williams. They came to no unanimous decision as to which two poems were the best, and the only two they voted for mutually are those printed below. Sea Poppies turned out to be by H. D., and Images of Friendship by Maxwell Bodenheim. (The former had not yet been published in H. D.’s book).
Sea Poppies
H. D.
Amber husk fluted with gold, fruit on the sand marked with a rich grain, treasure spilled near the shrub-pines to bleach on the boulders: your stalk has caught root among wet pebbles and drift flung by the sea and grated shells, and slit conch-shells. Beautiful, wide-spread, fire upon leaf, what meadow yields so fragrant a leaf as your bright leaf?
Images of Friendship
Maxwell Bodenheim
Grey drooping-shouldered bushes scrape the edges Of bending swirls of yellow-white flowers. So do my thoughts meet the wind-scattered color of you. The green shadowed trance of the water Is splintered to little white-tasseled awakenings By the beat of long black oars. So do your words cut the massed smoothness of thoughts of you. Split, brown-blue clouds press into each-other Over hills dressed in mute, clinging haze. So do my thoughts slowly form over the draped mystery of you.
The two prizes of $25 each go therefore to H. D. and Mr. Bodenheim.
But it may be interesting to print some of the others. For instance, not a single judge mentioned the following:
Stream
Richard Aldington
I.
Pebbles, that gleam dully, white, faint ochre, drab green: mosaic under pale sliding water.
II.
Foam; mobile crests leaping, sinking: thin fingers grasping round cold rocks.
III.
Pines, white ash-trees, black-thorns, winter grass, mirrored trembling in you, O vagrant, bending away from you and towards you: hesitating, importunate lovers.
IV.
Small blue waves straining to meet, never touching, always elusive: mocking, half-virginal lips.
Eunice Tietjens mentioned Flower and Foam with this qualification: “Provided Richard Aldington wrote them. Otherwise not. My point is that if he wrote them they are authentic as well as lovely, but if he did not so flagrant an imitator ought not to be encouraged even if he is a successful copyist.”
Flower
Edward J. O’Brien
Here by the pastures of Hybla Dreameth in azure stillness Daphne, a maiden. Her throat was softer than light and honey-haunted.
Foam
Here by the foaming sky with cloud-capped horses, I, a maiden, lie by the windy ocean, Dreaming of quiet waters Guarded by willows.
Dr. Williams’s first choice was The Master, “for the reason that it has most imaginative charm while possessing at the same time a fairly even unity of rhythm, a simple straight forward diction and a very subtle depth of thought. The image is progressively developed to a fine and natural conclusion with great simplicity and restraint, without waste of materia, without redundancy of any kind.”
What or where is the subtle depth of thought? Almost every kind of person in the world has had this thought: it is not even a poetic thought. And what is there in the treatment to make it poetry?
The Master
Jeanne D’Orge
In the dusk a child sits playing Five-finger exercises Up and down, down and up Jagged notes and even, Down and up, up and down Interminably. About him all unseen In the folds of the shadows Stand the great shades Bach ... Beethoven ... Brahms ... Listening with exquisite attention As to a master.
Helen Hoyt mentioned the following:
Autumn Ballet
Charles Wharton Stork
Oh dancers in yellow!— Tall, saffron-garmented poplars with arms uplifted, Slender-limbed beeches Draped in a modester russet, Chestnuts, walnuts and sassafrasses, And ruffle-skirted maples— Why do ye stand at pause? When will the music begin For you, oh dancers in yellow?
Dr. Williams’s fourth choice is a poem of Charles Ashleigh’s which he describes as “a spirited and well-constructed defiance.” I think it is a very trite effort—one of those loose though rather happy expressions of mood that has no more to do with art than a man’s exclamation that he means to tramp in the woods on a bright spring day.
Once More—The Road
Charles Ashleigh
The printed page Whispers vainly In my memory.... The locomotive howls! Limping philosophies Murmur weakly And then are silenced By the laughter of wanderers. The sadness of creeds Dies Under tramps’ ribaldry. And my road-thirst, Avid and aching, Conquers the muttering Of puling scholarship. Let my heart blossom in journeying; And my maw be well stuffed With delectable incident!
Eunice Tietjens would have been willing to give Lovescape a prize if either of the other judges had chosen it, but they did not. And in spite of its cadenced mounting and falling—which is an attribute of technique, not necessarily of art—it remains merely a slight puff of poetic feeling, not a good poem.
Lovescape
Adolf Wolff
Sky Deep blue sky Clouds Thin clouds Drifting drifting Grass Soft cool grass Breeze Soft warm breeze Hands pressing Mouths mingling Love Passion Ecstacy Faintness Calm Resting Sky Deep blue sky Clouds Thin clouds Drifting drifting.
Helen Hoyt chose the two following for the prizes. Now I hope these judges will not get provoked with me or feel that I am being personal or any of the other things that one is usually accused of when one is most impersonally talking his “cause.” I am simply overflowing with criticism of their valuations and I must speak it out. These two poems are pretty awful, I think. Where are the winged words that make poetry something beyond thoughts or ideas of emotions?
Victory
Sarah Bard Field
When we were lifted high on the crest of the wave And Passion made you oblivious, I reached above you for a star And caught it. When we sank deep into the trough of the wave And satisfied desire over-flooded you, I reached below you for a pearl And possessed it. You have nothing left from that night But a memory, chained to yourself. I have something left from that night That will one day fill his eyes with star-dust, Measuring the heavens, And tangle his feet in sea-weed, Searching the Ocean. Because of that night A thought stirs in you. It will grow weaker with Time It will be dead when you are dead. Because of that night, A child stirs in me. He will grow stronger with Time He will plant pansies on our graves When we are dead.
Art Is Born
Miriam van Waters
My leisure has flowered: a new thing has come into my hands, Time has come. I possess time as though it were a thing. I lie still in the scented grass and the hours come into my hands. They float up as little balloons float from the hands of children,— Like golden, silken spheres sailing high into the air, One by one they mount slow and as fragile as dreams. The hours from my hands go up like kites,— I hold their slender thread, I move it faintly and they sway, Rocking in the clear blue of the sky. They do not return to me, but very gently they vanish.... Somewhere, While I hold their silken, slender thread in my hands. My leisure has come sharp, like a crystal: It glows and is pointed, The poignancy of weapons has come into my leisure. I possess time as though it were a thing. The hours come into my hands like spears— Flashing crystal spars of light That is winged. I seize them as they come to me. I throw the weight of my body Into my stroke and boldly I hurl them into space,—into the heart of my enemy The Stillness who lurks there in the depths of the dark.
Dr. Williams says of The Flower Smeller: “It might have been a very fine thing indeed had the author known how to come to a conclusion properly. Parts of this poem have more promise than anything in the whole batch of manuscript.” It is, obviously, better. But it isn’t a gem by any means; it belongs rather with those almost fine things that make you impatient because they didn’t turn out to be gems.
The Flower Smeller
L. R. Bonham
Bubbles, mist and visions colored shapes winging against the sky a sip from a brown Venetian glass. Meseems gauze drops are pulled upwards and confetti flung into the past. A fairy queen in a crystal coach opens the door, she beckons, the painted crest looks familiar. Six little men with sticks pass by, one taller than the rest laughs and points at a junkheap of keepsakes. Distant music in the park you and I at the bay window, gossiping neighbors, a cool breeze, old second hand furniture, ice cream and moonlight all painted as in one stroke. Spirals of smoke, crushed tissue paper, colored ribbons and black masks, floor sweepings after a ball— I twirl a flower between thumb and index I feel golden dust on the tip of my nose— a futile occupation yet something has happened.
And this one, which was among Helen Hoyt’s choices, belongs also in the exasperatingly “somehow good” school.
November Afternoon
Marjorie Allen Seiffert
Upon our heads The oak-leaves fall Like silent benedictions Closing autumn’s gorgeous ritual, And we Upborne by warship Lift our eyes to the altar of distant hills. Beloved How can I know What gods are yours, How can I guess the visions of your spirit, Or hear The silent prayers your heart has said— Only by this I feel Your gods akin to mine, That when our lips have met On this last golden autumn afternoon They have confessed In silence Our kisses were less precious than our dreams. To-day Our passion drowned in beauty We turn away our faces toward the hills Where purple haze, like incense, Spreads its veil.
Here, I think, are two very interesting ones, the first of which Dr. Williams considers worthy of special mention—“the image evoked is charmingly successful.” The authors are respectively Fritz Peters and his brother, Thomas Willing Peters.
The wind blows hard No bird is there And the smoke is drowning in the lake. (Dictated at the age of two years and ten months.) When it rains it makes beautiful colors It makes red and blue and white And red and blue stripes on the water And the pier goes out to get the sky. (Dictated at the age of three years and eight months.)
The following four were not mentioned by any of the judges, but in my judgment they are better than many of the “honorable mentions.”
The Soldiers
Horace Holley
Whom I long since had known, Long since forgotten; Who cast their names behind them like a dream, Like stagnant water spitting Their tasteless souls away; These are the soldiers, The nameless, the changelings, Monstrous with slow tormenting Number, Pestilent with unremitting Machine. Soldiers ... These are they whom I suspected, guilty and glorious, Crouching in my own thought’s background, Released by the whirlwind of fate To move as winds that scream about the Pole, As darkness of sea-depths, As meeting of ice and flame. Priests of the mystic sensual death, When shall they return? When shall they return, broken, from Hell? The fuse of a thousand years has burned: Lord, quicken the groping hands of to-morrow!
The Assault
John Cournos
You come— black of wing, black of beak, flock on flock— ravenous, cawing. Your cries—arrows— shrill, clamorous, strident, pierce the heart. O wounded reverie on still water, white in faint mist, you spurt red drops. O white swan, shape of magnificent sadness, spread out your wings, flutter white through the air, disperse the black—the raucous.
Girl of Jade and Ivory
Mitchell Dawson
Thru the dark arches of many nights Your voice has led me, Groping. Across the echoing pavements Of the nights that stretch before me And past the niches Where grotesque doubts Mock me for seeking, I shall follow The impalpable strands of your voice— Like thread fine-spun from melted pearls Drawn singing Thru the darkness, Until at last I shall find you In a deep hollow of that immeasurable rock From which all nights are hewn; And your eyes will bind me forever While your long white fingers caress me. I shall not heed the waiting days As they gutter and die out.
The South
Witter Bynner
O the true difference!— The sun at last Gilds me again And my face is no more a white stalk of celery But a golden mango And the foot-tracked mud of my heart Is sunk deep down In the blue waters and purified with a scouring Of coral.... Cranes carry peace to the east and the west And joy stands clear by the mangroves, A torch, A flamingo.
This last one may be printed as a sample of the rest of the contest, and speaks for itself. It came with a little note saying “I hope it may win one of the prizes in the contest, being original free verse and very patriotic.”
A Mother’s Sacrifice
The day has come, beloved son— When duty’s call resound, Your father fought, and laurels won He firmly held the ground. Now honor calls you to be true, To the dear flag, red-white-and blue Long may it wave o’er land and sea— Thou sweet land of liberty. I thank the God who gave to me, So true, so brave a son— Who on the field prefers to be, Until the battle’s won. The God on high alone doth know, The torture and the nag— In sacrificing all I own, To help protect the flag. Fare-well dear boy of loyalty, To country and to home— God will reward you royally, Wherever you may roam. And when the war is o’er—Oh joy, How proud I then shall be— To find my darling soldier boy, Come home unscathed to me.