The Collected Poems of H.D. H. D.

Imagism

In May 1911, H.D. traveled to London on a vacation with Gregg and Gregg's mother; Gregg returned home, but H.D. stayed to develop a career as a writer. Pound introduced her to his friends, including English writer Brigit Patmore. Patmore introduced her to Richard Aldington, who became her husband in 1913. The three lived in Church Walk in Kensington; Pound resided at no. 10, Aldington at no. 8, and H.D. at no. 6, and they gathered to work daily in the British Museum Reading Room.[17]

Pound began to meet with other poets in London to discuss ideas for reforming contemporary poetry.[18] Like most modernists in different artistic fields, she sought to "make it new",[19] which they accomplished by incorporating free verse, the brevity of the tanka and haiku forms, and the removal of unnecessary verbiage. Pound, H.D. and Aldington became known as the "three original Imagists"[20] and published a three-point manifesto proclaiming the edicts of Imagism. According to Pound:[21]

We were agreed upon the three principles following:

1. Direct treatment of the 'thing' whether subjective or objective.
2. To use absolutely no word that does not contribute to the presentation.
3. As regarding rhythm: to compose poetry in the sequence of the musical phrase, not in sequence of a metronome.

During a 1912 conversation with Pound, H.D. told him that she found "Hilda Doolittle" to be an old fashioned and "quaint" name; he suggested the signature H.D., an abbreviation she kept for the remainder of her career.[22] After he "scrawled the name H.D. Imagiste" at the bottom of the page of her poem "Hermes of the Ways", she adopted H.D. as a pen.[23] Privately he called her "Dryad".[24]

In October 1912, under the rubric Imagiste, Pound submitted a selection of H.D.'s poems to Harriet Monroe, founder of the magazine Poetry, which was founded that year. In the January 1913 issue, three of her poems were published, "Hermes of the Ways", which Pound described as "this is poetry" after reading, "Priapus: Keeper of Orchards", later renamed "Orchard", and "Epigram". Three poems by Aldington were also published in the issue.[25] These early poems are informed by her reading of Classical Greek literature, especially of Sappho,[26] an interest she shared with Aldington and Pound. Her Imagist poetry is characterized by sparse language[27] and a classical, austere purity,[28] exemplified by one of her earliest and best-known poems, "Oread" (1915):[29]

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.

The style was not without its critics. In a dedicated Imagist issue of The Egoist magazine in May 1915, Harold Monro, an English poet, labeled H.D. the "truest Imagist" but dismissed her early work as "petty poetry", denoting "either poverty of imagination or needlessly excessive restraint".[30] In contrast, a 1927 review by the British modernist author and critic May Sinclair described "Oread"'s brevity as a "miracle" and criticized Monro for not recognizing it.[30]

World War I and after

In 1913, H.D. married Richard Aldington. The following year, Pound married the English artist Dorothy Shakespear.[31] H.D. and Aldington's only child, a daughter, was stillborn in 1915. He enlisted in the British Army, and she took his place as assistant editor of The Egoist, serving for the next year.[32] In 1916, H.D.'s first book, Sea Garden, was published. Meanwhile, H.D. and Aldington drifted apart; he reportedly took a mistress in 1917, and she started a close but platonic relationship with the English writer D. H. Lawrence.[33]

In 1918, H.D.'s brother Gilbert was killed in action. She moved to Cornwall that March with the Scottish composer Cecil Gray, a friend of Lawrence. She became pregnant with Gray's child,[34] but by the time she realized she was expecting, the relationship had cooled and Gray had returned to London.[35] H.D. learned that her father died, having never recovered from Gilbert's death.[36] Despondent and sick with the Spanish flu, she came close to death during the birth of their daughter Perdita Aldington in 1919.[37]

H.D. and Aldington tried to salvage their relationship but failed, in part because of his post-war post-traumatic stress disorder, but especially because of her pregnancy with Gray. They became estranged, and later divorced in 1938.[38]

In July 1918, she met the wealthy English novelist Bryher (Annie Winifred Ellerman) in Cornwall, and the two began a relationship.[39] Bryher was several years younger than H.D., a lesbian, and equally non-conformist.[40][41] Both women were unusually tall, a fact that made H.D. self-conscious.[41] The two lived together on and off until 1950.[42] Both had numerous other partners, but Bryher was H.D.'s lover for the rest of her life.[40] Bryher entered a marriage of convenience with the American writer and publisher Robert McAlmon, allowing him to use some of her wealth to fund his Paris-based Contact Press publishing house.[43] In 1923, H.D. and Bryher traveled to Egypt for the opening of Tutankhamun's tomb, before settling in Switzerland.[36]

She wrote one of her few known statements on poetics, Notes on Thought and Vision, in 1919, although it was not published until 1982.[44] In it, she speaks of poets (including herself) as belonging to a kind of elite group of visionaries with the power to "turn the whole tide of human thought".[45] During this time, she incorporated feminist ideas into her poems.[2]

Poetry cycles, novels and psychoanalysis

Poetry and novella cycles are a feature of H.D.'s early 1920s writing.[46] The first, "Magna Graeca", consists of the poems Palimpsest (1921) and Hedylus (1928), which use classical settings to explore the role of a poet, particularly a female's value in a patriarchal literary culture. The following cycles, "HERmione", "Bid Me to Live", "Paint It Today", and "Asphodel" are largely autobiographical and preoccupied with the development of the female artist and the conflict between heterosexual and lesbian desire. The novellas Kora and Ka and The Usual Star from the Borderline cycle were published in 1933, followed by Pilate's Wife, Mira-Mare and Nights.[46]

In 1927, H.D.'s mother died.[47] Bryher divorced McAlmon that year to marry Kenneth Macpherson, then H.D.'s male lover.[48][49] Bryher, Macpherson and H.D. lived and traveled together through Europe together in what the New York School poet Barbara Guest termed a "menagerie of three".[40] Bryher adopted H.D.'s daughter, Perdita, while still married Macpherson: leading to the change of name to Perdita Macpherson.[50][48][51] Later, Bryher named Perdita as heir to her will.[49] They moved to the shores of Lake Geneva where they lived in a Bauhaus villa.[52] H.D. became pregnant in 1928 and got an abortion.[53]

In 1927, Bryher and Macpherson founded the monthly magazine, Close Up, as a venue for the discussion of cinema.[36] That year the independent film cinema group POOL or Pool Group was established (largely funded with Bryher's inheritance) and was managed by all three.[54] In the 1930 POOL film Borderline, the actors were H.D. and Bryher and the couple Paul and Eslanda Robeson, the latter appearing as wife and husband.[55] The film explores extreme psychic states, racism, and interracial relationships.[56] H.D. wrote an explanatory pamphlet to accompany the film.[57]

In 1928, H.D. began psychoanalysis with the Freudian Hanns Sachs.[36] In 1933, she traveled to Vienna in 1933 for analysis with Sigmund Freud.[58] Her interest in Freud's theories began in 1909 after she read his works in its original German.[59] She was referred to Freud by Bryher's psychoanalyst because of her apparent paranoia about the rise of Adolf Hitler. World War I left her feeling shattered; she lost her brother in action, her father died in reaction to the loss of his son, her husband was traumatized by combat, and she believed that the shock at hearing of the sinking the RMS Lusitania indirectly caused the miscarriage of her child.[60] H.D. undertook two series of analysis with Freud from March to May 1933 and from October to November 1934.[42] At Freud's suggestion, H.D. wrote Bid me to Live, which was not published until 1960, which she details her traumatic war experiences.[61] Writing on the Wall, an impressionistic memoir of the sessions and a reevaluation of the importance of his psychoanalysis, was written concurrently with Trilogy and published in 1944; in 1956, it was published together with Advent, a journal of the analysis, under the title Tribute to Freud.[62]

World War II

Hilda and Bryher spent World War II in London. While there, her daughter Perdita became a secretary of the Office of Strategic Services (OSS).[52] Between 1941 and 1943 H.D. wrote The Gift, a short memoir of her childhood in Bethlehem that details the people and events that shaped her.[63] She began the Trilogy series in 1942, comprising three long, unrhyming, and complex volumes of poems: The Walls do not Fall (1944), Tribute to the Angels (1945) and The Flowering of the Rod (1946). H.D. wrote the first while living in London and details her reactions to the Blitz and World War II. The following two books compare the ruins of London to those of ancient Egypt and classical Greece; the former of which she had seen during a 1923 visit.[64] The opening lines of The Walls do not Fall clearly and immediately signal her break with her earlier work:[65]

An incident here and there, and rails gone (for guns) from your (and my) old town square.

H.D.'s relationship with Bryher ended just after the war, although they remained in contact. She moved to Switzerland where she had a severe mental breakdown in the spring of 1946 and took refuge in a clinic until the autumn of that year. She lived in Switzerland for the rest of her life.[66] In the late 1950s, she underwent further treatment with the psychoanalyst Erich Heydt, who supported her while she wrote End to Torment, a memoir of her relationship with Pound.[67]

Later work and death

H.D.'s later work drew heavily from her eclectic blend of Christianity, Ancient Greek and Egyptian religion, Spiritualism,[68] Hermeticism,[69] Martinism and Cabala via the works of Robert Ambelain,[70] alchemy,[71] tarot,[72] astrology,[71] and Freudian psychoanalysis. She used the medium of the long poem to explore and communicate this mix of spiritualities.[73]

Between 1952 and 1955, while in her 60s, H.D. wrote her longest poem, Helen in Egypt. It was not published until just before her death in 1961.[74] It is based Euripides' trilogy drama Helen, but imagines Helen of Troy's life after the fall of Troy and her relocation to Egypt. The poem reconstructs the source material into a feminist reinterpretation,[75] and has thus been described as "exploring ... [but] ... concluding" the themes as her earlier work.[74] Helen in Egypts long form and wide historical span has been seen as a response to Pound's Cantos, which she admired. In End to Torment she approved of Norman Holmes Pearson's labeling of Helen in Egypt as "her 'cantos'".[76]

A compilation of her late poems were published posthumously in 1972 under the title Hermetic Definition.[62] The book 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", which she wrote in bed having broken her hip in a fall, serves as a 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.[77] "Winter Love" was written during the same period as 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.[78]

She returned to the U.S. in 1960, when she was the first woman to be recognized with the Award of Merit Medal for poetry from the American Academy of Arts and Letters.[79]