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Archive for the ‘Poetry’ Category

If you follow this blog –and you should– then you know that Amherst has a lot of collections from missionary families.  Because I work with these collections a lot, especially in arranging and describing new ones, I’ve settled into a comfortable theory about how the work of missionaries changed over the decades and generations.  I notice a first generation of “strict missionaries” whose goal is first and foremost to spread the gospel.  Their children, often born and raised abroad, speak two or three languages, and they know their parents’ work and where it succeeded and where it failed.  They’re still usually missionaries working for the American Board, but their work often branches into teaching at primary and middle-school levels, or working in a medical clinic.  A third generation is even more removed from the original mission work and its members become professors or doctors. Fourth and fifth generations might see some diplomats, government professionals, and journalists.  The shift feels linear.  But I always knew this way of thinking was a broad generalization, and too comfortable.  I knew there would be someone to rock the boat, to mess with my theory — to zig where so many seemed to zag.

Mary Averett Seelye, ca. 1965

Mary-Averett Seelye, ca. 1965

The Williams-Chambers-Seelye-Franck Family Papers (the “Franck Papers,” to be succinct but less accurate) contain an unexpected and substantial section of papers from Kate and Laurens Seelye’s daughter Mary-Averett Seelye, a professional dancer whose particular interest was what she termed “poetry in dance.”  Seelye was careful to explain that she didn’t dance to poetry, she danced poetry – she danced a poem.  It wasn’t an easy concept for some audiences to understand – reviews and articles show repeated explanation.

Seelye seems to have had an eye to her archives fairly early on: her papers make it possible to follow her career from start to finish and include over 65 years of documentation illustrating the determination and hard work she put into that career.  It contains correspondence, photographs, publicity materials, reviews, interviews, an audio recording of a performance, and one film.

Mary-Averett Seelye was born in New Jersey but her family moved to Beirut (then in Syria) when she was only a few months old.  For one of the many résumés in the collection, Seelye made notes describing her childhood in a way that captures the years that formed her character and provided inspiration for her work:

Mary-Averett Seelye grew up in Beirut, Lebanon, where father taught; mother was active in voluntary women’s organizations.  Grandparents occupied a top floor apartment.  Turkish, French, Arabic filled the air.  She attended an American school, summered under olive trees overlooking the Mediterranean; mosquito netting; jackal howls.  Community-all-ages-baseball every Saturday afternoon provided public measure of the youngsters’ developing prowess to catch a fly and hit a homer.  Parents loved to dance.  Father taught daughters.  Daughters taught brother.  Easter holidays took the family to Palmyra, Jerusalem, Cairo, Damascus.  Part of an ethnic minority–yes–but a privileged one in which occupations were to learn and discover, educate, provide medical, spiritual, and economic help and “live in international brotherhood.”*

The Chambers-Seelye clan in Adana, Turkey, about 1922. Back row: Laurens H. Seelye (AC 1911); Kate Chambers Seelye; Dorothea Chambers holding her niece Dorothea Seelye; William Nesbitt Chambers. Seated: Cornelia Williams Chambers and her granddaughter Mary-Averett Seelye.

The Chambers-Seelye clan in Adana, Turkey, about 1922. Back row: Laurens H. Seelye (AC 1911); Kate Chambers Seelye; Dorothea Chambers holding her niece Dorothea Seelye; William Nesbitt Chambers. Seated: Cornelia Williams Chambers and her granddaughter Mary-Averett Seelye.

A stop along a Seelye family excursion, 1931.

A stop along a Seelye family excursion, 1931.

Seelye’s notes go on to record the family’s furlough in the United States that became permanent for Mary-Averett.  New England replaced the Middle East as home.  Seelye attended Bennington College in Vermont, where she studied drama.  In the winter of 1940, she formed the “Trio Theatre” with Carolyn Gerber and Molly Howe, two fellow graduates from Bennington.  The group performed “pieces incorporating movement and words,” including their version of Abel Meeropol’s “Strange Fruit.”  Seelye then went to the University of North Carolina at Chapel Hill for her M.A., which she received in 1944.

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Mary-Averett Seelye (at left), ca. 1943, with an unidentified member of the Trio Theatre at the Forest Theatre, located on the campus of the University of North Carolina at Chapel Hill.

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Seelye at right. Forest Theatre, University of North Carolina-Chapel Hill.

In 1949 she formed the Theatre Lobby with Mary Goldwater and worked as its production director for nine years.  The Theatre Lobby was a “pocket theatre” located in an old carriage house in the mews behind St. Matthew’s Cathedral in Washington, D.C.  The cast performed classic and modern works and was interracial at a time when other Washington theatres weren’t.  Seelye’s last work as director for the theater was Samuel Beckett’s “Waiting for Godot” in 1959.  The collection contains a note from Beckett to Seelye congratulating her on her work.  (Click on images for gallery.)

By the 1960s Seelye’s interest had turned increasingly to solo performances, specifically the concept of poetry-in-dance.  It was work that had grown out of her studies in drama and dance at Bennington College and that she had performed early on, then intermittently during the Theatre Lobby years, and then again — under the title of “Poetry-in-Dance”– beginning in 1957.  She would perform “Poetry-in-Dance” regularly through the 1960s and 70s.   Georgetown University’s Donn B. Murphy wrote a short memoir about Seelye in which he described the work that gathered momentum in this period:

Although American choreographers worked with words as early as Martha Graham’s American Document in 1938, Ms. Seelye was virtually alone in the continuity of her work in this mode, and in the individuality of her performances, presented over a period of more than thirty years.  She was noted for choosing exceptionally challenging literature and joining it with a movement idiom which is more often abstract than illustrative…

Extremely tall and thin, Ms. Seelye’s striking physical presence onstage was enhanced by minimal sculptural forms, carefully imagined costumes, and arresting lighting effects.  Though her works sometimes used music composed by Stephen Bates and Jutta Eigen, they were more characteristically performed to the sound of her voice alone.  She moved around, on top of, and through the sculptural pieces…

Investigating several cultures through personally devised visions in motion, Seelye was an actress-choreographer-dancer linked both with the earliest performers of antiquity, and the latest creators of avant-garde.”*

(Click for gallery.)

In 1972 she formed Kinesis, a logical extension of Poetry-in-Dance. She continued to dance into her late 70s. (Click for gallery.)

Of course, Seelye never forgot her youth in the Middle East.  Her way of remaining connected to the family’s roots there included a trip in the 1980s to perform in Beirut and Istanbul.  She also used Turkish and Arabic poetry in her repertoire in the United States.

Mary-Averett Seelye, posed among ruins, around 1984.

Mary-Averett Seelye, posed among ruins, around 1984.

Seelye’s papers indicate that she had some concern that her particular brand of dance might die with her if she didn’t take care to document her work.  Toward the end of her career she began to work with videographer Vin Grabill to film some of her performances. The result was a three-DVD collection of Seelye’s work, as well as a smaller film, “Poetry Moves,” featuring Seelye’s work with poet Josephine Jacobsen.  Seelye and Jacobsen collaborated for many years, and some of their correspondence is in the collection.  Vin Grabill donated a copy of the DVD collection to Amherst College, and clips of Seelye’s later performances may be seen at his Vimeo site, here.

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*Franck Papers, Box 14, Folder 1: Resumes and other biographical documents.

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H.H. Statham -- New Year-- 1914A hundred years ago Henry Heathcote Statham (1839-1924) and his wife, Florence Dicken Statham (1856-1938), sent this New Year’s card to their friends and family. The Dicken-Statham Family Papers have recently come to us, and so we share their New Year’s greeting with our readers.

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Signed photographic portrait of Vachel Lindsay, from the Lawrence H. Conrad Vachel Lindsay and Robert Frost Collection.

Signed photographic portrait of Vachel Lindsay, from the Lawrence H. Conrad Vachel Lindsay and Robert Frost Collection.

Amherst College recently received the donation of a small, fascinating collection of correspondence and other materials related to Robert Frost and the now lesser-known poet (Nicholas) Vachel Lindsay. Vachel Lindsay styled himself as a twentieth-century troubadour. He traveled around the Midwest performing his poetry, which he chanted or sang, sometimes in costume. Few recordings of Lindsay exist, but there are several short clips online at the PennSound project. Lindsay originally trained as a visual artist, and often sold or traded illustrated pamphlets of his poetry in exchange for food and lodging.

This collection of material belonged to Lawrence H. Conrad, and was donated to Amherst by Conrad’s granddaughter, Angela Conrad. Lawrence Conrad was an undergraduate at the University of Michigan, Ann Arbor, when Robert Frost held the position of poet-in-residence at the University. During the same time period, Lindsay gave a reading at the University. Conrad served as an assistant to the poets and helped with their arrangements while in Michigan. In a May 9, 1928 letter from Conrad to Lindsay, he writes, “You probably remember that I was a sort of pet of Robert Frost when he was here [at the University of Michigan].” Conrad later became president of the Michigan Author’s Association and arranged further Michigan appearances for Frost and Lindsay. Conrad corresponded with both men and appears to have become a personal friend of both, who were also friends with each other. He continued corresponding with Lindsay’s widow, Elizabeth Connor Lindsay after Vachel Lindsay committed suicide in 1931.

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The Frost Tapes

We are delighted that A. M. Dolan’s play This Verse Business — a one-man play about Robert Frost — will be performed in Amherst’s Kirby Theater at 8:00 on Thursday and Friday this week. Dolan conducted much of his research for the play in the Archives & Special Collections at Amherst College and made extensive use of our holdings of audio and video recordings of Robert Frost. At 4:00 PM on Thursday, November 28, I will be on a panel discussion “Robert Frost: From Page to Platform” with playwright A. M. Dolan and actor Gordon Clapp who plays the part of Robert Frost. In preparing for this event, I spent a little time looking into our audio-visual holdings in the Frost Collection.

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A poet’s hope: to be,

like some valley cheese,

local, but prized elsewhere.

— James Hayford

A day trip to Vermont recently got me thinking about the poet James Hayford, Amherst Class of 1935. Hayford was that other Vermont poet, the one you’ve probably never heard of.  At Amherst — indeed, throughout his entire life — Hayford was an admitted “disciple” of the more famous New England bard, Robert Frost. 

It is odd that Hayford, a Vermont boy with literary aspirations, had never even heard of Robert Frost until the fall of his sophomore year, when his parents gave him  a copy of Collected Poems (1930) for his birthday. Hayford tells of how first reading Frost was a thrilling revelation: “In Frost’s book I found myself.  This was my country; these were my people, my ways of thinking and feeling, my tones of voice.” (Preface to Star in the Shed Window:  Collected Poems, xi.)  Hayford had found his touchstone.

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One of my absolute favorite books about the history of printing, publishing, selling, and reading books is The Reading Nation in the Romantic Period by William St. Clair (Cambridge, 2004). St. Clair spends a lot of time exploring the ways that copyright law determines what books are available and how they are priced and sold. For instance, during what he calles the “brief copyright window, 1774-1808” hundreds of texts were suddenly in the public domain for the first time. In 1774 the House of Lords declared that perpetual copyright was illegal and that the fourteen year limit established in 1710 was the law of the land.

What this meant in practical terms is that anyone with a press could now print up their own editions of Chaucer, Milton, Swift, Dryden, Spencer, and others. If everyone could print the same texts, one way to differentiate your product from the inferior output of your competition was through editorial apparatus — introductions, author portraits, and notes. Thomas F. Bonnell’s book, The Most Disreputable Trade: Publishing the Classics of English Poetry, 1765-1810 (Oxford, 2008) examines the efforts of several publishers competing for the expanding British reading public. This week I just want to call attention to one item in the Amherst College Archives and Special Collections that was sold by one of the more enterprising publishers of public domain material.

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The Disowned Poet

Let me be clear: most of what I learned about Walt Whitman (1819-1892) in school is long since forgotten.  I know even less about naturalist and writer John Burroughs (1837-1921).  Here, now thoroughly advertised, are two of the many regrettable lacunae in my education so far.

However, this week’s blog topic provided a unique entry point for learning a bit about both writers, as well as (teachers take note) a rewarding archival experience, since even this brief blog post required a look across multiple collections, files, books, and online information.  The item in question is a hitherto uncatalogued manuscript in our collection by John Burroughs, with emendations by Walt Whitman.  The manuscript, “Flight of the Eagle,” is the last essay in Burroughs’ book Birds and Poets (1877), which also concerns worthies such as Tennyson, Emerson, Thoreau, Wordsworth, et al.

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