Call Number:

F0252

Repository:

University of Delaware Library Special Collections

Extent:

44 item

Language:

English

Preferred Citation:

MSS 0099, F0252, Sara Teasdale letters to Orrick Johns, Special Collections, University of Delaware Library, Newark, Delaware.

Date:

1909-1914, undated (inclusive)

Creator:

Teasdale, Sara, 1884-1933

Form:

Letters (correspondence)

Abstract:

Forty-three letters from American poet Sara Teasdale to Orrick Johns, friend, fellow poet, and editor, as well as one letter to Teasdale from Wilfred Funk, author, poet, and famed dictionary publisher.

American poet Sara Teasdale was born August 8, 1884, in St. Louis, Missouri, to merchant John Warren and Mary Elizabeth (Willard) Teasdale. After attending Mrs. Lockwood's School and the Mary Institute she was graduated from Hosmer Hall in 1903. Between 1904 and 1907 Teasdale and a group of friends published a monthly literary magazine,

The Potter's Wheel, which met with success in St. Louis.

Teasdale traveled extensively and made frequent trips to Chicago, where she eventually became part of Harriet Monroe's

Poetry magazine circle and met numerous other poets. After rejecting the poet Vachel Lindsay as a suitor, she married St. Louis businessman, Ernst Filsinger, in 1914. She divorced Filsinger in 1929, against his wishes.

"Guenevere" was Teasdale's first poem to be printed, appearing in

Reedy's Mirror in 1907. Teasdale's first book, Sonnets to Duse and Other Poems, was published by Poet Lore in the same year. Among her other books of poetry were numerous volumes published by Macmillan, including Rivers to the Sea (1915), Love Songs (1917), Flame and Shadow (1920), Dark of the Moon (1926), and Strange Victory (1933). In 1918 Teasdale was awarded the annual prize of the Poetry Society of America and the Columbia University Poetry Society Prize (forerunner of the Pulitzer Prize for Poetry) for Love Songs.

Popular during the early twentieth century, Teasdale's poems appeared in numerous periodicals including

Harper's, Scribner's, Century, Forum, Lippincott's, Putnam's, Bookman, and New Republic.

On January 29, 1933, having become increasingly depressed and reclusive, Sara Teasdale died of an overdose of sleeping pills. She was buried in St. Louis, Missouri.

Locher, Frances C. (ed.) Contemporary Authors. Volume 104. Detroit: Gale Research Company, 1982. p. 466.

Quartermain, Peter (ed.) Dictionary of Literary Biography. Volume 45: American Poets, 1880-1945. First Series. Detroit: Gale Research Company, 1986. pp. 396-405.

The letters of Sara Teasdale to Orrick Johns, a collection of forty-three letters from Teasdale and one letter to Teasdale from Wilfred Funk, are housed in F252 of Manuscript Collection 99. Arranged in chronological order, the autograph letters, cards, and notes range in dates from 1909 to 1914, (with fifteen undated items). In many of her letters Teasdale praised and critiqued the poetry of the letters recipient, Orrick Johns, a friend and fellow poet. He was also editor of the literary magazine,

The Mirror, in which a number of her poems appeared. It is obvious from her letters that Teasdale held Johns in high regard for his friendship and his literary work.

Teasdale wrote to Johns from various locales, including her home in St. Louis, Missouri, vacation spots such as St. Augustine, Florida, and Amalfi, Italy; as well as from New York City. In her letters Teasdale discussed her motivations for writing, her feelings about the quality of particular poems (one letter includes an eight-line poem, "Dew"), and her work in general. Her letters are filled with her observations of life, revealing her struggle with difficult feelings such as loneliness, a terror of death, and doubts about her poetry. She mentioned her admiration for the poetry of Nora French and Sappho, and expressed her enthusiasm for New York City.

Some of Teasdale's thoughts about women are revealed in a New Year's Eve, 1910, letter, in which she stated: "I sometimes think a woman has no right to do anything but lyrics--The rest somehow belongs to men. A woman, being inferior to a man in everything but delicacy and a certain emotional keenness, should follow only those arts where these two qualities count--and perhaps acting and lyrical verse are the only two. But I am mooning on a pet theory of mine."