For our Nov. 9 morning meeting, we’ll focus on poems that may or may not comport with our contemporary definition of the dramatic monologue. Does this genre exist? How do we know it when we see it? When was the dramatic monologue recognized as such, and what are its near cousins, body doubles or evil twins? How does the history of this poetic genre change when viewed through a transatlantic lens?
We’ll convene at 10:30 am at Rutgers in Murray 302; all are welcome to join us. Please do email Lauren Kimball, however (firstname.lastname@example.org) to let us know you will be coming. We’ll order sandwiches for everyone who registers; let us know if you have dietary restrictions. We’ll talk for a a few hours then break for lunch around 12:30 pm.
Below is the list of poems we’ll discuss at our morning meeting. Check back here soon for links to pdfs of these materials.
From the British side:
Augusta Webster, “Poets and Personal Pronouns” (1878)
Elizabeth Barrett Browning, “Runaway Slave at Pilgrim’s Point” (1848) and “A Curse for a Nation” (1857)
From the American side:
Walt Whitman, “The Wound Dresser” (1865)
Ada Isaacs Menken, “Judith” (1868)
Frances Ellen Watkins Harper, “Aunt Chloe’s Politics,” “Learning to Read”(1872)
Henry Wadsworth Longfellow, “Belisarius” (1875)
And, For Those Who Want More: read as much of MEN AND WOMEN as you can!
[The link is to the Boston (Ticknor and Fields) edition of Browning’s text, since Google favors the culture of reprinting!]