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The church of Santiago de Peñalba is located in the town of Peñalba de Santiago, belonging to the municipality of Ponferrada, in the region of El Bierzo (Castilla y León, Spain). It is one of the most representative architectural gems of pre-Romanesque Mozarabic art. Built at the beginning of the 10th century on the initiative of San Genadio de Astorga, it was inaugurated in the year 937 by his disciple Abbot Solomon. The church is the only building that remains of a monastic complex that has now disappeared.
This mountainous area, full of hermit monasteries and churches since the 7th century, deserved in its time the name of "Tebaida berciana". Its location in the center of the Montes Aquilanos, the most rugged area of the Montes de León, facilitated the isolation sought by the ascetic saints of the 8th, 9th and 10th centuries, such as San Fructuoso and San Genadio. The figure of San Genadio is relevant, insofar as he is considered the promoter of the spiritual and eremitical renaissance of El Bierzo area.
It has been declared a Site of Cultural Interest (BIC) and has been a National Historic-Artistic Monument since 1931.
History
The kingdom of León was, from its birth, a political space of meetings and disagreements inhabited by a "border society", which had its own aesthetic concept. The art of the kingdom of León is a unique, singular art, for a simple reason: because it was a very plural society, rich in cultural nuances, and in constant transformation. It is in this context of «medieval coexistence» - Christian, Jewish and Muslim - in which the territories changed their dimensions and status almost from one day to the next due to Muslim «razzias», Christian «riots» and pacts, in which the origin of Santiago de Peñalba is located.
The church of Santiago de Peñalba was designed by a Christian mind, that of San Genadio; it was planned by another Christian mind, that of Solomon, but built and decorated by an Arabized Christian community that included excellent master builders, painters and sculptors. Everything points to the fact that whoever worked in the church was a specialized and organized workshop, whether they were muladí, ex-muladí or Islamic, from Al-Andalus. It was the splendid time of the monastery that, as such, disappeared around the year 1283.
The church was built in the first half of the 10th century (between 931 and 937) in the reign of Ramiro II. This same monarch endowed the Church with donations, such as the Cross of Peñalba (donated in 940) and which today is a symbol of the Bierzo region. Throughout its history, despite its many relics, the monastic complex will be subject to financial difficulties, which will have to be settled with donations.
After the disappearance of the monastery, Santiago de Peñalba maintains its cult as a parish church sheltered by the town of Peñalba de Santiago, which will be built around it. In an isolated environment and with a population dedicated entirely to livestock and crops, the temple remained practically untouched, without reforms or subsequent additions that altered its original state. It would not be until the arrival in Peñalba of historians such as Manuel Gómez-Moreno (1909), when the historical value of Peñalba would become known.
Architecture
The church is characterized by opposed apses, an unusual feature shared with the tenth-century church of San Cebrián de Mazote (also constructed during the apogee of the Kingdom of León).
The church's decoration is a mixture of Celtic elements, including lunar and astral symbols; Byzantine influences seen in its Greek-cross plant; Arab elements, especially a small umbrella roof dome which covers the principal altar; and Mozarabic influence, seen in its famous horseshoe arches.
Interior
Mural paintings
Inside, the church is covered with mural paintings dating from the Caliphate period. The painting originally covered the entire building, although it is now preserved especially in the arches of the chevron dome of the central nave and in the two apses. The paintings have three different moments, the most primitive being contemporary to the church, from the 10th century, and were executed with the technique of fresco painting on a sand and lime mortar: on the wall that was still wet, he moved - using the punch, the rule and the compass - the compositional scheme, and later the pigments were applied.
Among the pictorial motifs, the simulated brick stands out, in addition to other paintings with plant and geometric motifs. The almagra socket (red paint made from clay-type iron oxide) is strikingly similar to that found in Medina Azahara in Córdoba. It is a decoration executed with an excellent technique and using high quality pigments. They have been partially restored in 2004, a process that continues today.
Medieval graffiti
Inside the church, especially on the walls of the choir, there is an extensive collection of medieval graffiti: different stucco engravings of human, geometric and even animal figures. It is a complex and diverse collection, understood as a spontaneous reflection of the life of the different inhabitants of the temple. Some graphites would correspond to tests carried out by the monks before transcribing these drawings on paper, since paper was a very precious commodity. In other cases, the works are attributed to drawings made by monks for entertainment or even as a reaffirmation of personal identity.
In the set stand out the figures of two lions, a hunting scene, the figure of a monk dressed in horse riding spurs in a blessing position, or several epigraphic graffiti that repeat the name of GĒNADII, in reference to San Genadio.
Relics
Cross of Peñalba
The Cross of Peñalba is a votive cross given in the 10th century by the Leonese king Ramiro II of León to San Genadio in gratitude for the help received from the Apostle Santiago in the battle of Simancas (year 939) against Abderramán III. It is currently one of the main identity symbols of El Bierzo and is exhibited in the León Museum.
Chalice and paten from Santiago de Peñalba
Like the Cross, the Chalice and Paten of Santiago de Peñalba come from the disappeared monastery of Peñalba. They were ordered to be made by Abbot Pelayo in the middle of the 12th century, a moment in which it enjoyed great splendor. They are currently part of the permanent exhibition of the Louvre Museum in Paris.
San Genadio Chess
Bolos de San Genadio are four chess pieces from the 9th century originating in Santiago de Peñalba. They are considered to be the oldest in Europe, surely brought by Mozarabic hermits, who took them from Al-Ándalus to the Kingdom of León. A total of four pieces carved in goat's horn are preserved: two towers, one of them broken into two pieces, a knight and a bishop.
Santiago de Peñalba
External links
Images
The Mudejar and Mozarabic Art
|
location
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Sunarto Rasidi (born (1975-02-23)23 February 1975) is an Indonesian male weightlifter, competing in the 62 kg category and representing Indonesia at international competitions. He competed at world championships, most recently at the 2003 World Weightlifting Championships. He participated at the 2004 Summer Olympics in the 62 kg event.
Major results
References
External links
Sunarto Rasidi at Olympics at Sports-Reference.com (archived)
|
sex or gender
|
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Sunarto Rasidi (born (1975-02-23)23 February 1975) is an Indonesian male weightlifter, competing in the 62 kg category and representing Indonesia at international competitions. He competed at world championships, most recently at the 2003 World Weightlifting Championships. He participated at the 2004 Summer Olympics in the 62 kg event.
Major results
References
External links
Sunarto Rasidi at Olympics at Sports-Reference.com (archived)
|
country of citizenship
|
{
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57
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"Indonesia"
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|
Sunarto Rasidi (born (1975-02-23)23 February 1975) is an Indonesian male weightlifter, competing in the 62 kg category and representing Indonesia at international competitions. He competed at world championships, most recently at the 2003 World Weightlifting Championships. He participated at the 2004 Summer Olympics in the 62 kg event.
Major results
References
External links
Sunarto Rasidi at Olympics at Sports-Reference.com (archived)
|
occupation
|
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73
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"weightlifter"
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|
Sunarto Rasidi (born (1975-02-23)23 February 1975) is an Indonesian male weightlifter, competing in the 62 kg category and representing Indonesia at international competitions. He competed at world championships, most recently at the 2003 World Weightlifting Championships. He participated at the 2004 Summer Olympics in the 62 kg event.
Major results
References
External links
Sunarto Rasidi at Olympics at Sports-Reference.com (archived)
|
participant in
|
{
"answer_start": [
297
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"2004 Summer Olympics"
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|
Sunarto Rasidi (born (1975-02-23)23 February 1975) is an Indonesian male weightlifter, competing in the 62 kg category and representing Indonesia at international competitions. He competed at world championships, most recently at the 2003 World Weightlifting Championships. He participated at the 2004 Summer Olympics in the 62 kg event.
Major results
References
External links
Sunarto Rasidi at Olympics at Sports-Reference.com (archived)
|
languages spoken, written or signed
|
{
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57
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"Indonesian"
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|
Sunarto Rasidi (born (1975-02-23)23 February 1975) is an Indonesian male weightlifter, competing in the 62 kg category and representing Indonesia at international competitions. He competed at world championships, most recently at the 2003 World Weightlifting Championships. He participated at the 2004 Summer Olympics in the 62 kg event.
Major results
References
External links
Sunarto Rasidi at Olympics at Sports-Reference.com (archived)
|
mass
|
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Pet Pals: Animal Doctor is a video game created by Legacy Interactive in which the player is a veterinarian, and must take care of 35 animals brought to their clinic. In the Wii version the player takes care of 30 animals. It is rated E10+ by the American Entertainment Software Rating Board.
In 2007, it was given the "Silver honor" award by the Parents' Choice Foundation.
Notes
If you get 1000 points in a case, you get a perfect score trophy.
If you do something wrong, incorrectly diagnose the animal and ask the wrong questions you won't get a trophy.
See also
Zoo Vet
References
External links
Legacy Interactive site
|
instance of
|
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29
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Pet Pals: Animal Doctor is a video game created by Legacy Interactive in which the player is a veterinarian, and must take care of 35 animals brought to their clinic. In the Wii version the player takes care of 30 animals. It is rated E10+ by the American Entertainment Software Rating Board.
In 2007, it was given the "Silver honor" award by the Parents' Choice Foundation.
Notes
If you get 1000 points in a case, you get a perfect score trophy.
If you do something wrong, incorrectly diagnose the animal and ask the wrong questions you won't get a trophy.
See also
Zoo Vet
References
External links
Legacy Interactive site
|
publisher
|
{
"answer_start": [
51
],
"text": [
"Legacy Interactive"
]
}
|
Pet Pals: Animal Doctor is a video game created by Legacy Interactive in which the player is a veterinarian, and must take care of 35 animals brought to their clinic. In the Wii version the player takes care of 30 animals. It is rated E10+ by the American Entertainment Software Rating Board.
In 2007, it was given the "Silver honor" award by the Parents' Choice Foundation.
Notes
If you get 1000 points in a case, you get a perfect score trophy.
If you do something wrong, incorrectly diagnose the animal and ask the wrong questions you won't get a trophy.
See also
Zoo Vet
References
External links
Legacy Interactive site
|
developer
|
{
"answer_start": [
51
],
"text": [
"Legacy Interactive"
]
}
|
Pet Pals: Animal Doctor is a video game created by Legacy Interactive in which the player is a veterinarian, and must take care of 35 animals brought to their clinic. In the Wii version the player takes care of 30 animals. It is rated E10+ by the American Entertainment Software Rating Board.
In 2007, it was given the "Silver honor" award by the Parents' Choice Foundation.
Notes
If you get 1000 points in a case, you get a perfect score trophy.
If you do something wrong, incorrectly diagnose the animal and ask the wrong questions you won't get a trophy.
See also
Zoo Vet
References
External links
Legacy Interactive site
|
platform
|
{
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174
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"text": [
"Wii"
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|
Corona Municipal Airport (ICAO: KAJO, FAA LID: AJO), formerly L66, is three miles northwest of Downtown Corona, serving Riverside County, California, United States. The airport has a few businesses, such as a cafe, "Flying Academy" flight training center, and aircraft maintenance and repair.Most U.S. airports use the same three-letter location identifier for the FAA and IATA, but Corona Municipal Airport is AJO to the FAA and has no IATA code (Aljouf, Yemen has IATA code AJO).
Facilities
Corona Municipal Airport covers 98 acres (40 ha) and has one asphalt runway, (7/25), 3,200 x 60 ft (975 x 18 m).In 2004 the airport had 68,000 aircraft operations, average 186 per day, all general aviation. 414 aircraft are based at the airport: 90% single engine, 6% multi-engine, 2% helicopter, 1% ultralight, and 1% jet.
24-hour fuel service is available all year (self serve).
Incidents
On March 19, 1998, a Cessna 152 clipped a private twin-engine plane, causing both planes to crash. The Cessna descended onto the corner roof of an apartment complex near the intersection of Chalgrove Drive and Border Avenue. No one was injured on the ground, but both pilots died.
On January 21, 2008 two private planes collided in Corona, killing five people, including one on the ground. The collision occurred about a mile away from the Corona Municipal Airport above Serfas Club Drive. The crash wreckage left debris strewn along a commercial strip near the 91 Freeway. Eyewitnesses claimed to have seen an explosion in the air and two different bodies fall from the sky. The aircraft involved were both single-engine Cessnas, a two-seat Cessna 150 and a four-seat Cessna 172. Investigators from the National Transportation Safety Board, local Corona police detectives, and the Federal Aviation Administration began their probe the following day. As of January 23 a cause for the accident was yet to be determined.
The crash began a debate about the safety of the Corona Municipal Airport, as it does not have an operating control tower. The city of Corona has had seven fatal aircraft accidents since 1998.
On July 26, 2008 at approximately 13:47 local time, a baby blue and white 1947 Ercoupe stalled upon takeoff when turning crosswind and crashed into the forest on the southwest side of the airport. Eyewitnesses said that the two elderly pilots had minor injuries, with one of them bleeding from his right cheek where the yoke struck him upon impact. Both were alive, but the airplane was said to have sustained considerable damage.On November 25, 2012 at approximately 23:00 local time, a Robinson R44 helicopter clipped a refueling station canopy and exploded shortly thereafter. A review of airport video footage showed the helicopter was facing toward the station, lifted off, made a 180-degree turn to the right and tilted forward with its tail coming up immediately prior to the explosion. The solo pilot the aircraft was fatally injured.On January 22, 2020 shortly after 12:00 local time, a Beech Bonanza airplane crashed during a failed takeoff attempt. All four passengers aboard were killed.
References
External links
Corona Municipal Airport official site at City of Corona website
Corona Municipal Airport - pictures and video
Flying Academy official site (flight school)
Resources for this airport:
FAA airport information for AJO
AirNav airport information for KAJO
FlightAware airport information and live flight tracker
NOAA/NWS weather observations: current, past three days
SkyVector aeronautical chart, Terminal Procedures
|
instance of
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Corona Municipal Airport (ICAO: KAJO, FAA LID: AJO), formerly L66, is three miles northwest of Downtown Corona, serving Riverside County, California, United States. The airport has a few businesses, such as a cafe, "Flying Academy" flight training center, and aircraft maintenance and repair.Most U.S. airports use the same three-letter location identifier for the FAA and IATA, but Corona Municipal Airport is AJO to the FAA and has no IATA code (Aljouf, Yemen has IATA code AJO).
Facilities
Corona Municipal Airport covers 98 acres (40 ha) and has one asphalt runway, (7/25), 3,200 x 60 ft (975 x 18 m).In 2004 the airport had 68,000 aircraft operations, average 186 per day, all general aviation. 414 aircraft are based at the airport: 90% single engine, 6% multi-engine, 2% helicopter, 1% ultralight, and 1% jet.
24-hour fuel service is available all year (self serve).
Incidents
On March 19, 1998, a Cessna 152 clipped a private twin-engine plane, causing both planes to crash. The Cessna descended onto the corner roof of an apartment complex near the intersection of Chalgrove Drive and Border Avenue. No one was injured on the ground, but both pilots died.
On January 21, 2008 two private planes collided in Corona, killing five people, including one on the ground. The collision occurred about a mile away from the Corona Municipal Airport above Serfas Club Drive. The crash wreckage left debris strewn along a commercial strip near the 91 Freeway. Eyewitnesses claimed to have seen an explosion in the air and two different bodies fall from the sky. The aircraft involved were both single-engine Cessnas, a two-seat Cessna 150 and a four-seat Cessna 172. Investigators from the National Transportation Safety Board, local Corona police detectives, and the Federal Aviation Administration began their probe the following day. As of January 23 a cause for the accident was yet to be determined.
The crash began a debate about the safety of the Corona Municipal Airport, as it does not have an operating control tower. The city of Corona has had seven fatal aircraft accidents since 1998.
On July 26, 2008 at approximately 13:47 local time, a baby blue and white 1947 Ercoupe stalled upon takeoff when turning crosswind and crashed into the forest on the southwest side of the airport. Eyewitnesses said that the two elderly pilots had minor injuries, with one of them bleeding from his right cheek where the yoke struck him upon impact. Both were alive, but the airplane was said to have sustained considerable damage.On November 25, 2012 at approximately 23:00 local time, a Robinson R44 helicopter clipped a refueling station canopy and exploded shortly thereafter. A review of airport video footage showed the helicopter was facing toward the station, lifted off, made a 180-degree turn to the right and tilted forward with its tail coming up immediately prior to the explosion. The solo pilot the aircraft was fatally injured.On January 22, 2020 shortly after 12:00 local time, a Beech Bonanza airplane crashed during a failed takeoff attempt. All four passengers aboard were killed.
References
External links
Corona Municipal Airport official site at City of Corona website
Corona Municipal Airport - pictures and video
Flying Academy official site (flight school)
Resources for this airport:
FAA airport information for AJO
AirNav airport information for KAJO
FlightAware airport information and live flight tracker
NOAA/NWS weather observations: current, past three days
SkyVector aeronautical chart, Terminal Procedures
|
located in the administrative territorial entity
|
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Corona Municipal Airport (ICAO: KAJO, FAA LID: AJO), formerly L66, is three miles northwest of Downtown Corona, serving Riverside County, California, United States. The airport has a few businesses, such as a cafe, "Flying Academy" flight training center, and aircraft maintenance and repair.Most U.S. airports use the same three-letter location identifier for the FAA and IATA, but Corona Municipal Airport is AJO to the FAA and has no IATA code (Aljouf, Yemen has IATA code AJO).
Facilities
Corona Municipal Airport covers 98 acres (40 ha) and has one asphalt runway, (7/25), 3,200 x 60 ft (975 x 18 m).In 2004 the airport had 68,000 aircraft operations, average 186 per day, all general aviation. 414 aircraft are based at the airport: 90% single engine, 6% multi-engine, 2% helicopter, 1% ultralight, and 1% jet.
24-hour fuel service is available all year (self serve).
Incidents
On March 19, 1998, a Cessna 152 clipped a private twin-engine plane, causing both planes to crash. The Cessna descended onto the corner roof of an apartment complex near the intersection of Chalgrove Drive and Border Avenue. No one was injured on the ground, but both pilots died.
On January 21, 2008 two private planes collided in Corona, killing five people, including one on the ground. The collision occurred about a mile away from the Corona Municipal Airport above Serfas Club Drive. The crash wreckage left debris strewn along a commercial strip near the 91 Freeway. Eyewitnesses claimed to have seen an explosion in the air and two different bodies fall from the sky. The aircraft involved were both single-engine Cessnas, a two-seat Cessna 150 and a four-seat Cessna 172. Investigators from the National Transportation Safety Board, local Corona police detectives, and the Federal Aviation Administration began their probe the following day. As of January 23 a cause for the accident was yet to be determined.
The crash began a debate about the safety of the Corona Municipal Airport, as it does not have an operating control tower. The city of Corona has had seven fatal aircraft accidents since 1998.
On July 26, 2008 at approximately 13:47 local time, a baby blue and white 1947 Ercoupe stalled upon takeoff when turning crosswind and crashed into the forest on the southwest side of the airport. Eyewitnesses said that the two elderly pilots had minor injuries, with one of them bleeding from his right cheek where the yoke struck him upon impact. Both were alive, but the airplane was said to have sustained considerable damage.On November 25, 2012 at approximately 23:00 local time, a Robinson R44 helicopter clipped a refueling station canopy and exploded shortly thereafter. A review of airport video footage showed the helicopter was facing toward the station, lifted off, made a 180-degree turn to the right and tilted forward with its tail coming up immediately prior to the explosion. The solo pilot the aircraft was fatally injured.On January 22, 2020 shortly after 12:00 local time, a Beech Bonanza airplane crashed during a failed takeoff attempt. All four passengers aboard were killed.
References
External links
Corona Municipal Airport official site at City of Corona website
Corona Municipal Airport - pictures and video
Flying Academy official site (flight school)
Resources for this airport:
FAA airport information for AJO
AirNav airport information for KAJO
FlightAware airport information and live flight tracker
NOAA/NWS weather observations: current, past three days
SkyVector aeronautical chart, Terminal Procedures
|
ICAO airport code
|
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|
Corona Municipal Airport (ICAO: KAJO, FAA LID: AJO), formerly L66, is three miles northwest of Downtown Corona, serving Riverside County, California, United States. The airport has a few businesses, such as a cafe, "Flying Academy" flight training center, and aircraft maintenance and repair.Most U.S. airports use the same three-letter location identifier for the FAA and IATA, but Corona Municipal Airport is AJO to the FAA and has no IATA code (Aljouf, Yemen has IATA code AJO).
Facilities
Corona Municipal Airport covers 98 acres (40 ha) and has one asphalt runway, (7/25), 3,200 x 60 ft (975 x 18 m).In 2004 the airport had 68,000 aircraft operations, average 186 per day, all general aviation. 414 aircraft are based at the airport: 90% single engine, 6% multi-engine, 2% helicopter, 1% ultralight, and 1% jet.
24-hour fuel service is available all year (self serve).
Incidents
On March 19, 1998, a Cessna 152 clipped a private twin-engine plane, causing both planes to crash. The Cessna descended onto the corner roof of an apartment complex near the intersection of Chalgrove Drive and Border Avenue. No one was injured on the ground, but both pilots died.
On January 21, 2008 two private planes collided in Corona, killing five people, including one on the ground. The collision occurred about a mile away from the Corona Municipal Airport above Serfas Club Drive. The crash wreckage left debris strewn along a commercial strip near the 91 Freeway. Eyewitnesses claimed to have seen an explosion in the air and two different bodies fall from the sky. The aircraft involved were both single-engine Cessnas, a two-seat Cessna 150 and a four-seat Cessna 172. Investigators from the National Transportation Safety Board, local Corona police detectives, and the Federal Aviation Administration began their probe the following day. As of January 23 a cause for the accident was yet to be determined.
The crash began a debate about the safety of the Corona Municipal Airport, as it does not have an operating control tower. The city of Corona has had seven fatal aircraft accidents since 1998.
On July 26, 2008 at approximately 13:47 local time, a baby blue and white 1947 Ercoupe stalled upon takeoff when turning crosswind and crashed into the forest on the southwest side of the airport. Eyewitnesses said that the two elderly pilots had minor injuries, with one of them bleeding from his right cheek where the yoke struck him upon impact. Both were alive, but the airplane was said to have sustained considerable damage.On November 25, 2012 at approximately 23:00 local time, a Robinson R44 helicopter clipped a refueling station canopy and exploded shortly thereafter. A review of airport video footage showed the helicopter was facing toward the station, lifted off, made a 180-degree turn to the right and tilted forward with its tail coming up immediately prior to the explosion. The solo pilot the aircraft was fatally injured.On January 22, 2020 shortly after 12:00 local time, a Beech Bonanza airplane crashed during a failed takeoff attempt. All four passengers aboard were killed.
References
External links
Corona Municipal Airport official site at City of Corona website
Corona Municipal Airport - pictures and video
Flying Academy official site (flight school)
Resources for this airport:
FAA airport information for AJO
AirNav airport information for KAJO
FlightAware airport information and live flight tracker
NOAA/NWS weather observations: current, past three days
SkyVector aeronautical chart, Terminal Procedures
|
FAA airport code
|
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33
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"text": [
"AJO"
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|
The anonymous poem Pascon agan Arluth is the oldest complete literary work in the Cornish language, dating from the 14th century. The modern title (it is untitled in the oldest manuscript) means "The Passion of Our Lord", but the poem has also been published as Mount Calvary.
Date, manuscripts and authorship
Pascon agan Arluth dates from the 14th century; it pre-dates the Ordinalia, a cycle of three verse plays on Biblical themes, and is therefore the earliest complete literary work in Cornish to have survived. The author's name is not known, but he may have been connected with Glasney College, at Penryn. More than a dozen manuscripts of the poem have been found, but all derive from BL Harleian 1782, a mid-15th century manuscript.
Analysis
The Pascon deals with the last days of Jesus Christ, beginning with the temptation in the wilderness. Though it is in narrative form it also incorporates commentary on the story to explain its meaning. The main source of the poem is the Gospels, but it also draws on later legendary material such as can be found in the Historia scholastica of Petrus Comestor and the Golden Legend of Jacobus de Voragine. It consists of 259 stanzas, each of four rhyming couplets, and each line having seven syllables, stressed on the first, third, fifth and seventh syllables.
Influence
Pascon agan Arluth was certainly known to the author of Passio Christi, one of the Middle Cornish mystery plays comprising the Ordinalia, as some of the poem's lines are incorporated in it. The modern Cornish poet Ken George was inspired by the Pascon to write Devedhyans Sen Pawl yn Bro Leon ("St. Paul comes to Leon") a poem about the journeys of St. Paul Aurelian, using the same metre as the older poem.
Editions and translations
The Pascon was first edited by Davies Gilbert in 1826 under the title Mount Calvary; or the History of the Passion, Death, and Resurrection, of Our Lord and Saviour Jesus Christ; he included an English translation by John Keigwin dating back to 1682. A better edition by Whitley Stokes appeared in 1860–1861, and another by Robert Morton Nance in 1934–1936, both with new English translations. More recently there have been editions by E. G. R. Hooper, by Goulven Pennaod (with English and Breton translations), and by Ray Edwards (with English translation).
Notes
Footnotes
References
Murdoch, Brian (1993). Cornish Literature. Cambridge: D. S. Brewer. ISBN 0859913643. Retrieved 19 June 2016.
Murdoch, Brian (2010). "Cornish Literature". In Classen, Albrecht (ed.). Handbook of Medieval Studies: Terms – Methods – Trends. Volume 1. Berlin: De Gruyter. pp. 369–379. ISBN 9783110184099. Retrieved 19 June 2016.
Preminger, Alex, ed. (1972) [1965]. Princeton Encyclopedia of Poetry and Poetics (1st ed.). Princeton: Princeton University Press. ISBN 0691060320. Retrieved 19 June 2016.
External links
The 1826 edition by Davies Gilbert, with translation by John Keigwin, at Google Books
The 1826 edition at the Internet Archive
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The anonymous poem Pascon agan Arluth is the oldest complete literary work in the Cornish language, dating from the 14th century. The modern title (it is untitled in the oldest manuscript) means "The Passion of Our Lord", but the poem has also been published as Mount Calvary.
Date, manuscripts and authorship
Pascon agan Arluth dates from the 14th century; it pre-dates the Ordinalia, a cycle of three verse plays on Biblical themes, and is therefore the earliest complete literary work in Cornish to have survived. The author's name is not known, but he may have been connected with Glasney College, at Penryn. More than a dozen manuscripts of the poem have been found, but all derive from BL Harleian 1782, a mid-15th century manuscript.
Analysis
The Pascon deals with the last days of Jesus Christ, beginning with the temptation in the wilderness. Though it is in narrative form it also incorporates commentary on the story to explain its meaning. The main source of the poem is the Gospels, but it also draws on later legendary material such as can be found in the Historia scholastica of Petrus Comestor and the Golden Legend of Jacobus de Voragine. It consists of 259 stanzas, each of four rhyming couplets, and each line having seven syllables, stressed on the first, third, fifth and seventh syllables.
Influence
Pascon agan Arluth was certainly known to the author of Passio Christi, one of the Middle Cornish mystery plays comprising the Ordinalia, as some of the poem's lines are incorporated in it. The modern Cornish poet Ken George was inspired by the Pascon to write Devedhyans Sen Pawl yn Bro Leon ("St. Paul comes to Leon") a poem about the journeys of St. Paul Aurelian, using the same metre as the older poem.
Editions and translations
The Pascon was first edited by Davies Gilbert in 1826 under the title Mount Calvary; or the History of the Passion, Death, and Resurrection, of Our Lord and Saviour Jesus Christ; he included an English translation by John Keigwin dating back to 1682. A better edition by Whitley Stokes appeared in 1860–1861, and another by Robert Morton Nance in 1934–1936, both with new English translations. More recently there have been editions by E. G. R. Hooper, by Goulven Pennaod (with English and Breton translations), and by Ray Edwards (with English translation).
Notes
Footnotes
References
Murdoch, Brian (1993). Cornish Literature. Cambridge: D. S. Brewer. ISBN 0859913643. Retrieved 19 June 2016.
Murdoch, Brian (2010). "Cornish Literature". In Classen, Albrecht (ed.). Handbook of Medieval Studies: Terms – Methods – Trends. Volume 1. Berlin: De Gruyter. pp. 369–379. ISBN 9783110184099. Retrieved 19 June 2016.
Preminger, Alex, ed. (1972) [1965]. Princeton Encyclopedia of Poetry and Poetics (1st ed.). Princeton: Princeton University Press. ISBN 0691060320. Retrieved 19 June 2016.
External links
The 1826 edition by Davies Gilbert, with translation by John Keigwin, at Google Books
The 1826 edition at the Internet Archive
|
language of work or name
|
{
"answer_start": [
82
],
"text": [
"Cornish"
]
}
|
The anonymous poem Pascon agan Arluth is the oldest complete literary work in the Cornish language, dating from the 14th century. The modern title (it is untitled in the oldest manuscript) means "The Passion of Our Lord", but the poem has also been published as Mount Calvary.
Date, manuscripts and authorship
Pascon agan Arluth dates from the 14th century; it pre-dates the Ordinalia, a cycle of three verse plays on Biblical themes, and is therefore the earliest complete literary work in Cornish to have survived. The author's name is not known, but he may have been connected with Glasney College, at Penryn. More than a dozen manuscripts of the poem have been found, but all derive from BL Harleian 1782, a mid-15th century manuscript.
Analysis
The Pascon deals with the last days of Jesus Christ, beginning with the temptation in the wilderness. Though it is in narrative form it also incorporates commentary on the story to explain its meaning. The main source of the poem is the Gospels, but it also draws on later legendary material such as can be found in the Historia scholastica of Petrus Comestor and the Golden Legend of Jacobus de Voragine. It consists of 259 stanzas, each of four rhyming couplets, and each line having seven syllables, stressed on the first, third, fifth and seventh syllables.
Influence
Pascon agan Arluth was certainly known to the author of Passio Christi, one of the Middle Cornish mystery plays comprising the Ordinalia, as some of the poem's lines are incorporated in it. The modern Cornish poet Ken George was inspired by the Pascon to write Devedhyans Sen Pawl yn Bro Leon ("St. Paul comes to Leon") a poem about the journeys of St. Paul Aurelian, using the same metre as the older poem.
Editions and translations
The Pascon was first edited by Davies Gilbert in 1826 under the title Mount Calvary; or the History of the Passion, Death, and Resurrection, of Our Lord and Saviour Jesus Christ; he included an English translation by John Keigwin dating back to 1682. A better edition by Whitley Stokes appeared in 1860–1861, and another by Robert Morton Nance in 1934–1936, both with new English translations. More recently there have been editions by E. G. R. Hooper, by Goulven Pennaod (with English and Breton translations), and by Ray Edwards (with English translation).
Notes
Footnotes
References
Murdoch, Brian (1993). Cornish Literature. Cambridge: D. S. Brewer. ISBN 0859913643. Retrieved 19 June 2016.
Murdoch, Brian (2010). "Cornish Literature". In Classen, Albrecht (ed.). Handbook of Medieval Studies: Terms – Methods – Trends. Volume 1. Berlin: De Gruyter. pp. 369–379. ISBN 9783110184099. Retrieved 19 June 2016.
Preminger, Alex, ed. (1972) [1965]. Princeton Encyclopedia of Poetry and Poetics (1st ed.). Princeton: Princeton University Press. ISBN 0691060320. Retrieved 19 June 2016.
External links
The 1826 edition by Davies Gilbert, with translation by John Keigwin, at Google Books
The 1826 edition at the Internet Archive
|
form of creative work
|
{
"answer_start": [
14
],
"text": [
"poem"
]
}
|
Angelo Groppelli (born 12 July 1946) is a former Italian shot putter, seven-time national champion at senior level, who competed in two editions of the European Championships (1974, 1978).
National records
Shot put: 19.20 m ( Bergamo, 3 June 1978) - record holder until 6 August 1978.
Personal bests
Shot put: 20.03 m ( Turin, 9 June 1979)
Achievements
National titles
Groppelli won seven national championships at individual senior level.
Italian Athletics Championships
Shot put: 1975, 1978, 1979, 1980 (4)
Italian Indoor Athletics Championships
Shot put: 1976, 1979, 1980 (3)
References
External links
Angelo Groppelli at World Athletics
|
occupation
|
{
"answer_start": [
57
],
"text": [
"shot putter"
]
}
|
Angelo Groppelli (born 12 July 1946) is a former Italian shot putter, seven-time national champion at senior level, who competed in two editions of the European Championships (1974, 1978).
National records
Shot put: 19.20 m ( Bergamo, 3 June 1978) - record holder until 6 August 1978.
Personal bests
Shot put: 20.03 m ( Turin, 9 June 1979)
Achievements
National titles
Groppelli won seven national championships at individual senior level.
Italian Athletics Championships
Shot put: 1975, 1978, 1979, 1980 (4)
Italian Indoor Athletics Championships
Shot put: 1976, 1979, 1980 (3)
References
External links
Angelo Groppelli at World Athletics
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Angelo Groppelli"
]
}
|
Angelo Groppelli (born 12 July 1946) is a former Italian shot putter, seven-time national champion at senior level, who competed in two editions of the European Championships (1974, 1978).
National records
Shot put: 19.20 m ( Bergamo, 3 June 1978) - record holder until 6 August 1978.
Personal bests
Shot put: 20.03 m ( Turin, 9 June 1979)
Achievements
National titles
Groppelli won seven national championships at individual senior level.
Italian Athletics Championships
Shot put: 1975, 1978, 1979, 1980 (4)
Italian Indoor Athletics Championships
Shot put: 1976, 1979, 1980 (3)
References
External links
Angelo Groppelli at World Athletics
|
family name
|
{
"answer_start": [
7
],
"text": [
"Groppelli"
]
}
|
Angelo Groppelli (born 12 July 1946) is a former Italian shot putter, seven-time national champion at senior level, who competed in two editions of the European Championships (1974, 1978).
National records
Shot put: 19.20 m ( Bergamo, 3 June 1978) - record holder until 6 August 1978.
Personal bests
Shot put: 20.03 m ( Turin, 9 June 1979)
Achievements
National titles
Groppelli won seven national championships at individual senior level.
Italian Athletics Championships
Shot put: 1975, 1978, 1979, 1980 (4)
Italian Indoor Athletics Championships
Shot put: 1976, 1979, 1980 (3)
References
External links
Angelo Groppelli at World Athletics
|
given name
|
{
"answer_start": [
0
],
"text": [
"Angelo"
]
}
|
Angelo Groppelli (born 12 July 1946) is a former Italian shot putter, seven-time national champion at senior level, who competed in two editions of the European Championships (1974, 1978).
National records
Shot put: 19.20 m ( Bergamo, 3 June 1978) - record holder until 6 August 1978.
Personal bests
Shot put: 20.03 m ( Turin, 9 June 1979)
Achievements
National titles
Groppelli won seven national championships at individual senior level.
Italian Athletics Championships
Shot put: 1975, 1978, 1979, 1980 (4)
Italian Indoor Athletics Championships
Shot put: 1976, 1979, 1980 (3)
References
External links
Angelo Groppelli at World Athletics
|
languages spoken, written or signed
|
{
"answer_start": [
49
],
"text": [
"Italian"
]
}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
place of birth
|
{
"answer_start": [
32
],
"text": [
"Prague"
]
}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
place of death
|
{
"answer_start": [
60
],
"text": [
"Roztoky"
]
}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
native language
|
{
"answer_start": [
75
],
"text": [
"Czech"
]
}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
occupation
|
{
"answer_start": [
81
],
"text": [
"animator"
]
}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
family name
|
{
"answer_start": [
8
],
"text": [
"Beneš"
]
}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
given name
|
{
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0
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"text": [
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|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
notable work
|
{
"answer_start": [
145
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"text": [
"Pat & Mat"
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}
|
Lubomír Beneš (7 November 1935, Prague – 12 September 1995, Roztoky) was a Czech animator, director, and author, best known as the co-creator of Pat & Mat, an animated series about two highly inventive, yet incredibly clumsy handymen neighbours.
Life and career
Lubomír Beneš grew up in Hloubětín, a suburb of Prague. As a child, he was artistically talented, so his parents paid for private art lessons, in which he studied drawing, painting and writing.He began working in animation in the late 1950s in the animation studios of Krátký Film Praha. After winning a competition he was accepted to the animated film studio Bratři v triku after his military service, where he became acquainted with various animation techniques. He worked in SFX on the animated film like Gallina Vogelbirdae by Jiri Brdecka
In 1967, he transferred from Bratři v triku to the Loutkovy Film Praha/Jiří Trnka Studio. There he created and directed his first film, Homo (Man) in 1969. Beneš’s first puppet film, Beg your pardon (Czech: Račte prominout), was made in 1974. He directed over a hundred short films, mostly puppet stop motion animation, and many of them for children. Some of his films also used cutout techniques.During the 1970s and 1980s, Beneš worked on numerous TV projects for the state channels Československá televize (ČST) Praha and ČST Bratislava. His most popular animated series for ČST were ... a je to! (... and that's it!) (28 episodes, 1979–1985) and Jája a Pája (21 episodes, 1986, 1987, 1995).
From 1990, he worked in the aiF Studio, which he had founded together with his son Marek, Pat & Mat co-creator Vladimír Jiránek and producer Michal Podhradský. There, he produced and directed 14 new Pat & Mat episodes in 1992 and 1994, which were highly successful and broadcast internationally. The animated films made by aiF were also broadcast on BBC One. Beneš directed, produced and wrote animated films in his studio until his death in 1995. His studio declared bankruptcy four years later.
Awards and prizes
His films won several prizes abroad and at home. The King and the Dwarf (Czech: Král a skřítek) won several prizes, including The Silver Carnation at the Sitges Film Festival, Silver in the Odesa International Film Festival, and the Silver Mikeldi in Bilbao. The Record Player (Czech: Gramofon) from ...A je to! won the Prize for the Best Film for Children at the 6th festival in Espinho, Portugal. Uneven Fight (Czech: Nerovný souboj) won the Main prize at the Vancouver Film Festival. With a Smile (Czech: S úsměvem) won the main prize, Golden Dancer, in Huesca.
The 38th Pat & Mat episode, The Cyclists (Czech: Cyklisti), animated by Alfons Mensdorff-Pouilly, participated in the "Annecy '93" (Annecy, France) animation festival competition, and was invited to a number of other international festivals. The Cyclists was also included in the selection "The Best of Annecy '93" by Cinémathèque Québécoise (Montreal), Museum of Fine Arts (Boston), Pacific Film Archive (Berkeley), Museum of Modern Art (New York City) and presented by these institutions in their autumn 1993 show.
The 44th Pat & Mat episode, The Billiards (Czech: Kulečník), animated by František Váša, was selected for the "Annecy '95" competition, and invited to many other international film festivals. The Billiards won two prizes at the World Animation Celebration in Agoura, California, in March 1997: 1st prize, Best Animation for a Daytime TV Series and 2nd prize, Best Stop Motion Professional Animation.
Personal life
Beneš lived in Roztoky, near Prague. He was married with his wife Vera Smetanova-Benesova, and had a son and daughter. His son Marek is the current director of the Pat & Mat series.
References
External links
Pat & Mat official website
Website of Lubomír Beneš' aiF Studio
Lubomír Beneš at IMDb
|
languages spoken, written or signed
|
{
"answer_start": [
75
],
"text": [
"Czech"
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}
|
The Obey River is a 47.8-mile-long (76.9 km) tributary of the Cumberland River in the U.S. state of Tennessee. It joins the Cumberland River near the town of Celina, which is generally considered to be the Cumberland's head of navigation. Via the Cumberland and Ohio rivers, the Obey River is part of the Mississippi River watershed.
Near its mouth, the Obey is impounded by the U.S. Army Corps of Engineers Dale Hollow Reservoir, site of a fish hatchery run by the federal government. This dam impounds the Obey for essentially its entire length, causing slack water well up both major tributaries, the East and West Forks. This lake is relatively deep due to the height of the dam and the depth of the gorges through which the Obey and its tributaries flowed; the impoundment also enters Kentucky in its Wolf River and Sulphur Creek embayments.
Below the dam the stream makes two sharp bends before entering the Cumberland. The only major bridge on the Obey, on State Route 53, is located just below the second of these, Peterman Bend.
See also
List of rivers of Tennessee
References
External links
U.S. Army Corps of Engineers Dale Hollow Dam
Obey River Tennessee tourism website
U.S. Geological Survey Geographic Names Information System: Obey River
|
instance of
|
{
"answer_start": [
267
],
"text": [
"river"
]
}
|
The Obey River is a 47.8-mile-long (76.9 km) tributary of the Cumberland River in the U.S. state of Tennessee. It joins the Cumberland River near the town of Celina, which is generally considered to be the Cumberland's head of navigation. Via the Cumberland and Ohio rivers, the Obey River is part of the Mississippi River watershed.
Near its mouth, the Obey is impounded by the U.S. Army Corps of Engineers Dale Hollow Reservoir, site of a fish hatchery run by the federal government. This dam impounds the Obey for essentially its entire length, causing slack water well up both major tributaries, the East and West Forks. This lake is relatively deep due to the height of the dam and the depth of the gorges through which the Obey and its tributaries flowed; the impoundment also enters Kentucky in its Wolf River and Sulphur Creek embayments.
Below the dam the stream makes two sharp bends before entering the Cumberland. The only major bridge on the Obey, on State Route 53, is located just below the second of these, Peterman Bend.
See also
List of rivers of Tennessee
References
External links
U.S. Army Corps of Engineers Dale Hollow Dam
Obey River Tennessee tourism website
U.S. Geological Survey Geographic Names Information System: Obey River
|
located in the administrative territorial entity
|
{
"answer_start": [
100
],
"text": [
"Tennessee"
]
}
|
The Obey River is a 47.8-mile-long (76.9 km) tributary of the Cumberland River in the U.S. state of Tennessee. It joins the Cumberland River near the town of Celina, which is generally considered to be the Cumberland's head of navigation. Via the Cumberland and Ohio rivers, the Obey River is part of the Mississippi River watershed.
Near its mouth, the Obey is impounded by the U.S. Army Corps of Engineers Dale Hollow Reservoir, site of a fish hatchery run by the federal government. This dam impounds the Obey for essentially its entire length, causing slack water well up both major tributaries, the East and West Forks. This lake is relatively deep due to the height of the dam and the depth of the gorges through which the Obey and its tributaries flowed; the impoundment also enters Kentucky in its Wolf River and Sulphur Creek embayments.
Below the dam the stream makes two sharp bends before entering the Cumberland. The only major bridge on the Obey, on State Route 53, is located just below the second of these, Peterman Bend.
See also
List of rivers of Tennessee
References
External links
U.S. Army Corps of Engineers Dale Hollow Dam
Obey River Tennessee tourism website
U.S. Geological Survey Geographic Names Information System: Obey River
|
mouth of the watercourse
|
{
"answer_start": [
62
],
"text": [
"Cumberland River"
]
}
|
The Obey River is a 47.8-mile-long (76.9 km) tributary of the Cumberland River in the U.S. state of Tennessee. It joins the Cumberland River near the town of Celina, which is generally considered to be the Cumberland's head of navigation. Via the Cumberland and Ohio rivers, the Obey River is part of the Mississippi River watershed.
Near its mouth, the Obey is impounded by the U.S. Army Corps of Engineers Dale Hollow Reservoir, site of a fish hatchery run by the federal government. This dam impounds the Obey for essentially its entire length, causing slack water well up both major tributaries, the East and West Forks. This lake is relatively deep due to the height of the dam and the depth of the gorges through which the Obey and its tributaries flowed; the impoundment also enters Kentucky in its Wolf River and Sulphur Creek embayments.
Below the dam the stream makes two sharp bends before entering the Cumberland. The only major bridge on the Obey, on State Route 53, is located just below the second of these, Peterman Bend.
See also
List of rivers of Tennessee
References
External links
U.S. Army Corps of Engineers Dale Hollow Dam
Obey River Tennessee tourism website
U.S. Geological Survey Geographic Names Information System: Obey River
|
tributary
|
{
"answer_start": [
808
],
"text": [
"Wolf River"
]
}
|
A New Hallelujah is a live album by Christian recording artist Michael W. Smith. Released in October 2008, this is Smith's third album of worship music, and his fourth live album. It was recorded on June 20, 2008 at Lakewood Church in Houston, Texas. A DVD version of the album was released in March 2009 along with additional bonus features: Behind The Scenes: A New Hallelujah including four new tracks from the live concert.
Track listing
Personnel
Production
Reception
The album won two 2009 Dove Awards at the 40th GMA Dove Awards, for Best Inspirational Recorded Song and Best Praise & Worship Album. and was a new hallelujah unedited version.
Charts
Certifications
== References ==
|
instance of
|
{
"answer_start": [
27
],
"text": [
"album"
]
}
|
A New Hallelujah is a live album by Christian recording artist Michael W. Smith. Released in October 2008, this is Smith's third album of worship music, and his fourth live album. It was recorded on June 20, 2008 at Lakewood Church in Houston, Texas. A DVD version of the album was released in March 2009 along with additional bonus features: Behind The Scenes: A New Hallelujah including four new tracks from the live concert.
Track listing
Personnel
Production
Reception
The album won two 2009 Dove Awards at the 40th GMA Dove Awards, for Best Inspirational Recorded Song and Best Praise & Worship Album. and was a new hallelujah unedited version.
Charts
Certifications
== References ==
|
performer
|
{
"answer_start": [
63
],
"text": [
"Michael W. Smith"
]
}
|
A New Hallelujah is a live album by Christian recording artist Michael W. Smith. Released in October 2008, this is Smith's third album of worship music, and his fourth live album. It was recorded on June 20, 2008 at Lakewood Church in Houston, Texas. A DVD version of the album was released in March 2009 along with additional bonus features: Behind The Scenes: A New Hallelujah including four new tracks from the live concert.
Track listing
Personnel
Production
Reception
The album won two 2009 Dove Awards at the 40th GMA Dove Awards, for Best Inspirational Recorded Song and Best Praise & Worship Album. and was a new hallelujah unedited version.
Charts
Certifications
== References ==
|
form of creative work
|
{
"answer_start": [
22
],
"text": [
"live album"
]
}
|
Scott Gendel (born June 24, 1977) is an American composer, pianist, and vocal coach. Gendel is known mostly for his art songs and choral music, but has also written numerous operas and musical theatre works, as well as orchestral and chamber music.
Career
Gendel attended Bard College from 1995-1999, where he studied composition with Joan Tower and Daron Hagen. He then received his MM and DMA degrees from the University of Wisconsin-Madison, where he studied vocal coaching & piano with Martha Fischer, and composition with Stephen Dembski.His art songs first achieved national attention with his song cycle "Forgotten Light", which won First Prize in the inaugural ASCAP / Lotte Lehmann Foundation Art Song Composition Competition, as well as having selected songs recorded by soprano Julia Faulkner and pianist Martha Fischer for Naxos Records’ “Between The Bliss And Me.” More recently, Gendel’s song “At Last” was recorded by soprano Camille Zamora and cellist Yo-Yo Ma for “An AIDS Quilt Songbook: Sing for Hope.” Opera News called Gendel’s song on that recording “luminous, transcendently lyrical.” Gendel’s art song output is now published by Classical Vocal Reprints, and those songs receive frequent performances. His cycle “I’m Afraid It’s You” won second prize in the 2015 NATS Art Song Composition Competition. Writing in NewMusicBox, Daron Hagen said “Scott Gendel's art songs combine superb craftsmanship, a sophisticated and well-honed sense of prosody, texts of excellent literary quality, and a sure heart.” Other notable works of Gendel’s include the choral/orchestral cantata “All Souls” for All Souls Church Unitarian in Washington D.C., the musical theatre piece “Unearthed” written with poet/playwright Nick Lantz for Endstation Theatre, the oratorio “Barbara Allen” which combines Appalachian folk song with orchestral concert music, and the opera for young audiences “Super Storm,” being written in collaboration with Opera For The Young.
List of works
Source:
Voice and piano
To Wander in the Dark (1998)
Meditation at Oyster River (1999)
Keats Songs (2000)
Spring (2001)
Violi Songs (2003)
My Symphony (2003)
For Miriam (2004)
Annabel Lee (2005)
Forgotten Light (2005)
Return and Return Again (2006)
The Space Between (2006)
The Saddest Noise (2007)
My Beloved (2007) (unaccompanied)
My Songs Do Not Belong To Me (2011)
Love Songs of Marichiko (2012)
Italian Art Songs & Arias, Reimagined (2002-2013)
I’m Afraid It’s You (2014)
What We Did Not Know (2014)
Advice to Those Like Me, With Hearts Like Kindling (2015)
Kids Who Die (2016)
Theatre and Opera
A Song That’s True (1999) one-act opera for young audiences
Iphigenia at Aulis (2004) evening-length one-act opera
The Night Knight (2007) madrigal comedy / a cappella opera for all ages
Hibernation (2007) songs and incidental music for the play
Across a Distance (2010) music theatre work in two acts for soprano and Deaf actor
Unearthed (2013) musical in two acts
Seven Princesses and a Bear (2015) - ballet for young audiences
The Snow Goose (2016) songs and incidental music for storytelling / radio play
Choral works
We Must Be Slow (1997) SSA
Now Blue October (2000) SSATTB
The Premonition (2000) SSATTB
Instructions for Angels (2001) SSATBB
Love Song (2001) SSAA
A Dream Within a Dream (2003) SATB
Two Spring Songs (2003) SATB
All Weeping Things (2004) SATB
Eternal Summer (2005) SATB
The Last Invocation (2005) SSATBB
Prayer (2005) SATB and piano
Ave Verum Corpus, After Byrd (2006) SSAATTBB
The Vine (2006) TTB
Ten Thousand Miles (2007) 4 SATB choirs
The Road of Excess (2007) SSATTB
Invocation to the Muse / Persephone’s Spring (2008) multiple choirs, violin, cello, piano, percussion
Midwinter (I Sorrow Not) (2008) 4 SATB choirs and one SSA choir
Hower-Glass (2009) SSATBB and piano
No Room at the Inn (2009) SATB and piano
The White Birds (2010) SATB and piano
Juno’s Garden (2010) SSATBB
It Was My Father’s Custom (2011) SATB, percussion, harp, and string orchestra
There Came a Wind Like a Bugle (2011) SATB and piano
In Praise of the Mind (2012) SATB and brass quintet
Just Delicate Needles (2013) SSATB and piano
Peace Everywhere (2013) SATB with 3-part descant
The Singing Place (2013) SATB and piano
All Souls (2013) - cantata for soprano and baritone soloists, SATB choir, and chamber orchestra
Sound and Fury (2014) SATB, piano, violin, and drum
#dreamsongs (2014) SATB, cello, and piano
Una Sañosa Porfía & Ayo Visto Lo Mappamundi (2014) SATB, recorder, harp, and string quartet
We Are Such Stuff as Dreams are Made On (2014) SSATB
In Summer (2015) SATB
Across the Water (2016) SSA + treble choir, flute, piano, and guitar
That Which Is Near (2017) SATB, string quartet, and piano
Barbara Allen (2017) - oratorio for soprano and tenor soloists, SATB choir, and chamber orchestra
Chamber music
Time and Time Again (2000) string quartet
Effusion (2000) tuba and piano
A Tango for Closed Eyes (2001) violin, 2 saxophones, guitar, piano, and bass
Breath (2002) English horn, viola, and piano
Fantasy Pieces (2002) clarinet and piano
Just Thinking of You (2003) solo piano
Wisp (2004) solo flute
4th Avenue (2005) solo piano
A Gleam in Her Eye (2005) percussion ensemble
Elder Tree (2008) viola and piano
For Lotte, Asleep (2009) piano quintet
Heat Lightning (2011) 2 harps, 3 percussionists, piano
Vocal chamber music
DiPrima Songs (1996) soprano and clarinet
Spelt from Sibyl’s Leaves (2001) medium-high voice, violin, and harp
Evensong (2002) soprano, alto flute, 2 violins, harpsichord, and cello
Player Piano (2002) singing actor and piano 4-hands
Patterns (2003) mezzo-soprano, flute, and piano
GIC to HAR (2004) high voice and string quartet
Songs for Marie’s Lutebook (2004) voice and guitar
Shadow Songs (2005) soprano and violin
Since I Left You (2005) tenor, violin, guitar, and harp
Facts About the Moon (2010) soprano, flute, cello, guitar, piano, and percussion
Metamorphosis (2011) voice and harp
Worship Songs (2016) high voice and percussion
Orchestra/band
Clinging Fire (2000) for symphony orchestra
Requiem Humana (2001) - secular Mass for SATB choir, string quartet, and percussion
Crackle and Snap (2001) for small chamber orchestra
Behind Glass (2002) for chamber orchestra
Nimbus (2003) for wind ensemble
For Miriam (orchestrated version) (2004) for high voice and chamber orchestra
Aulis (2004) for small chamber orchestra
Nova (2005) for symphony orchestra
Dynamo (2006) for concert band
It Was My Father’s Custom (2011) carol for SATB choir, percussion, harp, and string orchestra
All Souls (2013) - cantata for soprano and baritone soloists, SATB choir, and chamber orchestra
The Raven (2013) for string orchestra and timpani
Barbara Allen (2017) - oratorio for soprano and tenor soloists, SATB choir, and chamber orchestra
== References ==
|
occupation
|
{
"answer_start": [
49
],
"text": [
"composer"
]
}
|
Scott Gendel (born June 24, 1977) is an American composer, pianist, and vocal coach. Gendel is known mostly for his art songs and choral music, but has also written numerous operas and musical theatre works, as well as orchestral and chamber music.
Career
Gendel attended Bard College from 1995-1999, where he studied composition with Joan Tower and Daron Hagen. He then received his MM and DMA degrees from the University of Wisconsin-Madison, where he studied vocal coaching & piano with Martha Fischer, and composition with Stephen Dembski.His art songs first achieved national attention with his song cycle "Forgotten Light", which won First Prize in the inaugural ASCAP / Lotte Lehmann Foundation Art Song Composition Competition, as well as having selected songs recorded by soprano Julia Faulkner and pianist Martha Fischer for Naxos Records’ “Between The Bliss And Me.” More recently, Gendel’s song “At Last” was recorded by soprano Camille Zamora and cellist Yo-Yo Ma for “An AIDS Quilt Songbook: Sing for Hope.” Opera News called Gendel’s song on that recording “luminous, transcendently lyrical.” Gendel’s art song output is now published by Classical Vocal Reprints, and those songs receive frequent performances. His cycle “I’m Afraid It’s You” won second prize in the 2015 NATS Art Song Composition Competition. Writing in NewMusicBox, Daron Hagen said “Scott Gendel's art songs combine superb craftsmanship, a sophisticated and well-honed sense of prosody, texts of excellent literary quality, and a sure heart.” Other notable works of Gendel’s include the choral/orchestral cantata “All Souls” for All Souls Church Unitarian in Washington D.C., the musical theatre piece “Unearthed” written with poet/playwright Nick Lantz for Endstation Theatre, the oratorio “Barbara Allen” which combines Appalachian folk song with orchestral concert music, and the opera for young audiences “Super Storm,” being written in collaboration with Opera For The Young.
List of works
Source:
Voice and piano
To Wander in the Dark (1998)
Meditation at Oyster River (1999)
Keats Songs (2000)
Spring (2001)
Violi Songs (2003)
My Symphony (2003)
For Miriam (2004)
Annabel Lee (2005)
Forgotten Light (2005)
Return and Return Again (2006)
The Space Between (2006)
The Saddest Noise (2007)
My Beloved (2007) (unaccompanied)
My Songs Do Not Belong To Me (2011)
Love Songs of Marichiko (2012)
Italian Art Songs & Arias, Reimagined (2002-2013)
I’m Afraid It’s You (2014)
What We Did Not Know (2014)
Advice to Those Like Me, With Hearts Like Kindling (2015)
Kids Who Die (2016)
Theatre and Opera
A Song That’s True (1999) one-act opera for young audiences
Iphigenia at Aulis (2004) evening-length one-act opera
The Night Knight (2007) madrigal comedy / a cappella opera for all ages
Hibernation (2007) songs and incidental music for the play
Across a Distance (2010) music theatre work in two acts for soprano and Deaf actor
Unearthed (2013) musical in two acts
Seven Princesses and a Bear (2015) - ballet for young audiences
The Snow Goose (2016) songs and incidental music for storytelling / radio play
Choral works
We Must Be Slow (1997) SSA
Now Blue October (2000) SSATTB
The Premonition (2000) SSATTB
Instructions for Angels (2001) SSATBB
Love Song (2001) SSAA
A Dream Within a Dream (2003) SATB
Two Spring Songs (2003) SATB
All Weeping Things (2004) SATB
Eternal Summer (2005) SATB
The Last Invocation (2005) SSATBB
Prayer (2005) SATB and piano
Ave Verum Corpus, After Byrd (2006) SSAATTBB
The Vine (2006) TTB
Ten Thousand Miles (2007) 4 SATB choirs
The Road of Excess (2007) SSATTB
Invocation to the Muse / Persephone’s Spring (2008) multiple choirs, violin, cello, piano, percussion
Midwinter (I Sorrow Not) (2008) 4 SATB choirs and one SSA choir
Hower-Glass (2009) SSATBB and piano
No Room at the Inn (2009) SATB and piano
The White Birds (2010) SATB and piano
Juno’s Garden (2010) SSATBB
It Was My Father’s Custom (2011) SATB, percussion, harp, and string orchestra
There Came a Wind Like a Bugle (2011) SATB and piano
In Praise of the Mind (2012) SATB and brass quintet
Just Delicate Needles (2013) SSATB and piano
Peace Everywhere (2013) SATB with 3-part descant
The Singing Place (2013) SATB and piano
All Souls (2013) - cantata for soprano and baritone soloists, SATB choir, and chamber orchestra
Sound and Fury (2014) SATB, piano, violin, and drum
#dreamsongs (2014) SATB, cello, and piano
Una Sañosa Porfía & Ayo Visto Lo Mappamundi (2014) SATB, recorder, harp, and string quartet
We Are Such Stuff as Dreams are Made On (2014) SSATB
In Summer (2015) SATB
Across the Water (2016) SSA + treble choir, flute, piano, and guitar
That Which Is Near (2017) SATB, string quartet, and piano
Barbara Allen (2017) - oratorio for soprano and tenor soloists, SATB choir, and chamber orchestra
Chamber music
Time and Time Again (2000) string quartet
Effusion (2000) tuba and piano
A Tango for Closed Eyes (2001) violin, 2 saxophones, guitar, piano, and bass
Breath (2002) English horn, viola, and piano
Fantasy Pieces (2002) clarinet and piano
Just Thinking of You (2003) solo piano
Wisp (2004) solo flute
4th Avenue (2005) solo piano
A Gleam in Her Eye (2005) percussion ensemble
Elder Tree (2008) viola and piano
For Lotte, Asleep (2009) piano quintet
Heat Lightning (2011) 2 harps, 3 percussionists, piano
Vocal chamber music
DiPrima Songs (1996) soprano and clarinet
Spelt from Sibyl’s Leaves (2001) medium-high voice, violin, and harp
Evensong (2002) soprano, alto flute, 2 violins, harpsichord, and cello
Player Piano (2002) singing actor and piano 4-hands
Patterns (2003) mezzo-soprano, flute, and piano
GIC to HAR (2004) high voice and string quartet
Songs for Marie’s Lutebook (2004) voice and guitar
Shadow Songs (2005) soprano and violin
Since I Left You (2005) tenor, violin, guitar, and harp
Facts About the Moon (2010) soprano, flute, cello, guitar, piano, and percussion
Metamorphosis (2011) voice and harp
Worship Songs (2016) high voice and percussion
Orchestra/band
Clinging Fire (2000) for symphony orchestra
Requiem Humana (2001) - secular Mass for SATB choir, string quartet, and percussion
Crackle and Snap (2001) for small chamber orchestra
Behind Glass (2002) for chamber orchestra
Nimbus (2003) for wind ensemble
For Miriam (orchestrated version) (2004) for high voice and chamber orchestra
Aulis (2004) for small chamber orchestra
Nova (2005) for symphony orchestra
Dynamo (2006) for concert band
It Was My Father’s Custom (2011) carol for SATB choir, percussion, harp, and string orchestra
All Souls (2013) - cantata for soprano and baritone soloists, SATB choir, and chamber orchestra
The Raven (2013) for string orchestra and timpani
Barbara Allen (2017) - oratorio for soprano and tenor soloists, SATB choir, and chamber orchestra
== References ==
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given name
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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languages spoken, written or signed
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
|
writing language
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
|
place of birth
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
|
place of death
|
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
|
place of burial
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
|
movement
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Commons category
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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given name
|
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Alice Dunbar Nelson (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet Paul Laurence Dunbar. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J. Nelson, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies.
Life
Alice Ruth Moore was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.
Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. Nelson lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello.In 1895, Alice Dunbar Nelson's first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence Dunbar. Alice Dunbar Nelson's work in The Woman's Era captured Paul Laurence Dunbar's attention. On April 17, 1895, Paul Laurence Dunbar sent Alice a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked Alice about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, Alice's opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters.Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told Alice that she kept him from "yielding to temptations", a clear reference to sexual liaisons. In a letter from March 6, 1896, Paul attempted to instigate jealousy in Alice by talking about a woman he had met in Paris. However, Alice failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, Alice ended up moving to Washington, DC to join Paul Laurence Dunbar and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by Dunbar's declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped Alice, which he later blamed on his alcoholism. Alice would later forgive him for this behavior. Paul would often beat Alice, which was public knowledge. In a later message to Dunbar's earliest biographer, Alice said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before Paul Dunbar's death in 1906.Alice then moved to Wilmington, Delaware, and taught at Howard High School for more than a decade. During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908.
In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce.
In 1916 she married the poet and civil rights activist Robert J. Nelson. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.
During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, Nelson traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. Nelson also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter.
Early activism
At a young age, Alice Dunbar Nelson became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club. She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. Alice's work with the paper marked the beginning of her career as a journalist and an activist.Dunbar-Nelson was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense. In 1924, Dunbar-Nelson campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, Dunbar-Nelson worked in various ways to foster political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants."
Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Church Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience.Alice Dunbar-Nelson supported America's involvement in World War I; she saw the war as a means to ending racial violence in America. She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", Nelson writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, Nelson wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display Nelson's belief that racial equality could be achieved through military service and sacrificing one's self to their nation.From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years. Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, Nelson was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that Nelson was removed for "political activity" and incompatibility. Despite the backing of the Board of Education's Conwell Banton, who opposed Nelson's firing, Nelson decided not to return to Howard High School. In 1928, Nelson became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, Nelson also spoke on The American Negro Labor Congress Forum in Philadelphia. Nelson's topic was Inter-Racial Peace and its Relation to Labor. Dunbar-Nelson also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930.
Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined. She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware.Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.
Rhetorical context
The rhetorical context of Alice Dunbar-Nelson's writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" Dunbar-Nelson explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. Dunbar-Nelson's writings express her belief of equality between the races and between men and women. She believed that African Americans should have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights. Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J. Nelson who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, Alice became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion.Much of Dunbar-Nelson's writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana. She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of Dunbar-Nelson's writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable. She was able to publish her writing, however, when the themes of racism and oppression were more subtle.
Summary section
"I Sit and Sew" by Alice Dunbar-Nelson is a three-stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help. The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem.
Works
Violets and Other Tales Archived 2006-10-06 at the Wayback Machine, Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed.), Daughters of Africa, 1992, pp. 161–163.)
The Goodness of St. Rocque and Other Stories Archived July 22, 2017, at the Wayback Machine, 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle".
"Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes.
(As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914.
"People of Color in Louisiana", 1917, in Journal of Negro History.
Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP).
(As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920.
"The Colored United States", 1924, The Messenger, literary and political magazine in NY
"From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier.
"I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed.), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927.
"As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper.
"So It Seems to Alice Dunbar-Nelson", 1930, column for the Pittsburgh Courier.
Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League.
Give Us Each Day: The Diary of Alice Dunbar-Nelson, ed. Gloria T. Hull, New York: Norton, 1984.
"Writing, Citizenship, Alice Dunbar-Nelson". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244.
References
External links
Works by Alice Dunbar-Nelson at Project Gutenberg
Works by or about Alice Dunbar Nelson at Internet Archive
Works by Alice Dunbar Nelson at LibriVox (public domain audiobooks)
Alice Dunbar-Nelson papers at Special Collections, University of Delaware Library
About Alice Dunbar-Nelson, Department of English, College of LAS, University of Illinois, 1988
Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of Alice Dunbar-Nelson" (online exhibition) at The Rosenbach
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Ballingdon is a suburb of the town of Sudbury in Suffolk, England. Once a separate village in the county of Essex, today it is part of Sudbury civil parish though it was formerly a separate parish. It is the only part of the town to the south of the River Stour. In 1951 the parish had a population of 458.The village developed on the important ancient highway from Braintree and Halstead in Essex to Sudbury and Bury St Edmunds. It grew adjacent to a bridge (today known as Ballingdon Bridge) over the River Stour. It dates back to at least the 13th century. It remains the only crossing of the river for several miles in each direction. Ballingdon and Brundon (which formed the township of Ballingdon-cum-Brundon, then in Essex) were added to the borough of Sudbury (and the county of Suffolk) in 1888 as part of the Local Government Act. Around that time it had a population of 831.In 1972 the owners of Ballingdon Hall, responding to a housing development on adjacent land, had it moved half a mile up Ballingdon Hill on the back of a large transporter; the event was watched by 10,000 people. There is a large photograph of this move in the March 2016 issue of the English Heritage Members' Magazine.
Ballingdon came to be home to many businesses, evidence of which can be seen in the architecture of the buildings, with large shop windows and other tell-tale signs. This was because before Ballingdon became part of Suffolk it was cheaper to open a business on the Essex side of the river, as no levy had to be paid to Sudbury town council. By 2011 only 8 businesses remained open outside the industrial units, just 3 of them retail outlets.
Ballingdon was home to two brickworks, long since vanished, but location maps of them can be found online. The Allen family operation, (on Middleton Road) was the most advanced, and barges made their way up an especially constructed cut from the River Stour, which passed the brickworks and even continued under Middleton Road. The clay was sourced locally and brick makers were expected to meet a target of 1,000 bricks per day. The hand making of bricks has long since been over-shadowed by machines, but can still be seen at Bulmer Brick and Tile, who offer tours to schools and adults.
Today Ballingdon Street is a conservation area and contains numerous listed buildings. King's Marsh Stadium, home of A.F.C. Sudbury, is located in the area.
In September 2018, Ballingdon held its first fete in living memory, raising money for the Eden Rose Coppice. The fete, held on Kone Vale has also taken place in 2019 and 2022, raising a total of £9,000 in its first 3 events for local good causes.
Ballingdon also hosts its own Christmas Tree, funded by local volunteers and since 2022 features Advent Windows in the run up to Christmas along Ballingdon Street.
References
External links
Several photos of Ballingdon past Sudbury Museum Trust
Ballingdon in the Domesday Book
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instance of
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Ballingdon is a suburb of the town of Sudbury in Suffolk, England. Once a separate village in the county of Essex, today it is part of Sudbury civil parish though it was formerly a separate parish. It is the only part of the town to the south of the River Stour. In 1951 the parish had a population of 458.The village developed on the important ancient highway from Braintree and Halstead in Essex to Sudbury and Bury St Edmunds. It grew adjacent to a bridge (today known as Ballingdon Bridge) over the River Stour. It dates back to at least the 13th century. It remains the only crossing of the river for several miles in each direction. Ballingdon and Brundon (which formed the township of Ballingdon-cum-Brundon, then in Essex) were added to the borough of Sudbury (and the county of Suffolk) in 1888 as part of the Local Government Act. Around that time it had a population of 831.In 1972 the owners of Ballingdon Hall, responding to a housing development on adjacent land, had it moved half a mile up Ballingdon Hill on the back of a large transporter; the event was watched by 10,000 people. There is a large photograph of this move in the March 2016 issue of the English Heritage Members' Magazine.
Ballingdon came to be home to many businesses, evidence of which can be seen in the architecture of the buildings, with large shop windows and other tell-tale signs. This was because before Ballingdon became part of Suffolk it was cheaper to open a business on the Essex side of the river, as no levy had to be paid to Sudbury town council. By 2011 only 8 businesses remained open outside the industrial units, just 3 of them retail outlets.
Ballingdon was home to two brickworks, long since vanished, but location maps of them can be found online. The Allen family operation, (on Middleton Road) was the most advanced, and barges made their way up an especially constructed cut from the River Stour, which passed the brickworks and even continued under Middleton Road. The clay was sourced locally and brick makers were expected to meet a target of 1,000 bricks per day. The hand making of bricks has long since been over-shadowed by machines, but can still be seen at Bulmer Brick and Tile, who offer tours to schools and adults.
Today Ballingdon Street is a conservation area and contains numerous listed buildings. King's Marsh Stadium, home of A.F.C. Sudbury, is located in the area.
In September 2018, Ballingdon held its first fete in living memory, raising money for the Eden Rose Coppice. The fete, held on Kone Vale has also taken place in 2019 and 2022, raising a total of £9,000 in its first 3 events for local good causes.
Ballingdon also hosts its own Christmas Tree, funded by local volunteers and since 2022 features Advent Windows in the run up to Christmas along Ballingdon Street.
References
External links
Several photos of Ballingdon past Sudbury Museum Trust
Ballingdon in the Domesday Book
|
located in the administrative territorial entity
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{
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Ballingdon is a suburb of the town of Sudbury in Suffolk, England. Once a separate village in the county of Essex, today it is part of Sudbury civil parish though it was formerly a separate parish. It is the only part of the town to the south of the River Stour. In 1951 the parish had a population of 458.The village developed on the important ancient highway from Braintree and Halstead in Essex to Sudbury and Bury St Edmunds. It grew adjacent to a bridge (today known as Ballingdon Bridge) over the River Stour. It dates back to at least the 13th century. It remains the only crossing of the river for several miles in each direction. Ballingdon and Brundon (which formed the township of Ballingdon-cum-Brundon, then in Essex) were added to the borough of Sudbury (and the county of Suffolk) in 1888 as part of the Local Government Act. Around that time it had a population of 831.In 1972 the owners of Ballingdon Hall, responding to a housing development on adjacent land, had it moved half a mile up Ballingdon Hill on the back of a large transporter; the event was watched by 10,000 people. There is a large photograph of this move in the March 2016 issue of the English Heritage Members' Magazine.
Ballingdon came to be home to many businesses, evidence of which can be seen in the architecture of the buildings, with large shop windows and other tell-tale signs. This was because before Ballingdon became part of Suffolk it was cheaper to open a business on the Essex side of the river, as no levy had to be paid to Sudbury town council. By 2011 only 8 businesses remained open outside the industrial units, just 3 of them retail outlets.
Ballingdon was home to two brickworks, long since vanished, but location maps of them can be found online. The Allen family operation, (on Middleton Road) was the most advanced, and barges made their way up an especially constructed cut from the River Stour, which passed the brickworks and even continued under Middleton Road. The clay was sourced locally and brick makers were expected to meet a target of 1,000 bricks per day. The hand making of bricks has long since been over-shadowed by machines, but can still be seen at Bulmer Brick and Tile, who offer tours to schools and adults.
Today Ballingdon Street is a conservation area and contains numerous listed buildings. King's Marsh Stadium, home of A.F.C. Sudbury, is located in the area.
In September 2018, Ballingdon held its first fete in living memory, raising money for the Eden Rose Coppice. The fete, held on Kone Vale has also taken place in 2019 and 2022, raising a total of £9,000 in its first 3 events for local good causes.
Ballingdon also hosts its own Christmas Tree, funded by local volunteers and since 2022 features Advent Windows in the run up to Christmas along Ballingdon Street.
References
External links
Several photos of Ballingdon past Sudbury Museum Trust
Ballingdon in the Domesday Book
|
Commons category
|
{
"answer_start": [
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"Ballingdon"
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|
Ballingdon is a suburb of the town of Sudbury in Suffolk, England. Once a separate village in the county of Essex, today it is part of Sudbury civil parish though it was formerly a separate parish. It is the only part of the town to the south of the River Stour. In 1951 the parish had a population of 458.The village developed on the important ancient highway from Braintree and Halstead in Essex to Sudbury and Bury St Edmunds. It grew adjacent to a bridge (today known as Ballingdon Bridge) over the River Stour. It dates back to at least the 13th century. It remains the only crossing of the river for several miles in each direction. Ballingdon and Brundon (which formed the township of Ballingdon-cum-Brundon, then in Essex) were added to the borough of Sudbury (and the county of Suffolk) in 1888 as part of the Local Government Act. Around that time it had a population of 831.In 1972 the owners of Ballingdon Hall, responding to a housing development on adjacent land, had it moved half a mile up Ballingdon Hill on the back of a large transporter; the event was watched by 10,000 people. There is a large photograph of this move in the March 2016 issue of the English Heritage Members' Magazine.
Ballingdon came to be home to many businesses, evidence of which can be seen in the architecture of the buildings, with large shop windows and other tell-tale signs. This was because before Ballingdon became part of Suffolk it was cheaper to open a business on the Essex side of the river, as no levy had to be paid to Sudbury town council. By 2011 only 8 businesses remained open outside the industrial units, just 3 of them retail outlets.
Ballingdon was home to two brickworks, long since vanished, but location maps of them can be found online. The Allen family operation, (on Middleton Road) was the most advanced, and barges made their way up an especially constructed cut from the River Stour, which passed the brickworks and even continued under Middleton Road. The clay was sourced locally and brick makers were expected to meet a target of 1,000 bricks per day. The hand making of bricks has long since been over-shadowed by machines, but can still be seen at Bulmer Brick and Tile, who offer tours to schools and adults.
Today Ballingdon Street is a conservation area and contains numerous listed buildings. King's Marsh Stadium, home of A.F.C. Sudbury, is located in the area.
In September 2018, Ballingdon held its first fete in living memory, raising money for the Eden Rose Coppice. The fete, held on Kone Vale has also taken place in 2019 and 2022, raising a total of £9,000 in its first 3 events for local good causes.
Ballingdon also hosts its own Christmas Tree, funded by local volunteers and since 2022 features Advent Windows in the run up to Christmas along Ballingdon Street.
References
External links
Several photos of Ballingdon past Sudbury Museum Trust
Ballingdon in the Domesday Book
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historic county
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Usami Station (宇佐美駅, Usami-eki) is a railway station in the northern part of the city of Itō, Shizuoka Prefecture, Japan, operated by East Japan Railway Company (JR East).
Lines
Usami Station is served by the Itō Line, and is located 13.0 kilometers from the starting point of the line at Atami Station and 117.6 kilometers from Tokyo Station.
Station layout
Usami Station has two opposed ground level side platforms connected by a footbridge. The station building has automated ticket machines and Suica automated turnstiles, and is unattended.
Platforms
History
Usami Station opened on December 15, 1938, when the section of the Itō Line linking Ajiro with Itō was completed. Freight services were discontinued on November 1, 1958. On April 1, 1987, along with division and privatization of the Japan National Railway, East Japan Railway Company started operating this station.
Passenger statistics
In fiscal 2013, the station was used by an average of 1254 passengers daily (boarding passengers only).
Surrounding area
Usami Onsen
See also
List of Railway Stations in Japan
References
External links
JR East Usami Station
|
country
|
{
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|
Usami Station (宇佐美駅, Usami-eki) is a railway station in the northern part of the city of Itō, Shizuoka Prefecture, Japan, operated by East Japan Railway Company (JR East).
Lines
Usami Station is served by the Itō Line, and is located 13.0 kilometers from the starting point of the line at Atami Station and 117.6 kilometers from Tokyo Station.
Station layout
Usami Station has two opposed ground level side platforms connected by a footbridge. The station building has automated ticket machines and Suica automated turnstiles, and is unattended.
Platforms
History
Usami Station opened on December 15, 1938, when the section of the Itō Line linking Ajiro with Itō was completed. Freight services were discontinued on November 1, 1958. On April 1, 1987, along with division and privatization of the Japan National Railway, East Japan Railway Company started operating this station.
Passenger statistics
In fiscal 2013, the station was used by an average of 1254 passengers daily (boarding passengers only).
Surrounding area
Usami Onsen
See also
List of Railway Stations in Japan
References
External links
JR East Usami Station
|
instance of
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{
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|
Usami Station (宇佐美駅, Usami-eki) is a railway station in the northern part of the city of Itō, Shizuoka Prefecture, Japan, operated by East Japan Railway Company (JR East).
Lines
Usami Station is served by the Itō Line, and is located 13.0 kilometers from the starting point of the line at Atami Station and 117.6 kilometers from Tokyo Station.
Station layout
Usami Station has two opposed ground level side platforms connected by a footbridge. The station building has automated ticket machines and Suica automated turnstiles, and is unattended.
Platforms
History
Usami Station opened on December 15, 1938, when the section of the Itō Line linking Ajiro with Itō was completed. Freight services were discontinued on November 1, 1958. On April 1, 1987, along with division and privatization of the Japan National Railway, East Japan Railway Company started operating this station.
Passenger statistics
In fiscal 2013, the station was used by an average of 1254 passengers daily (boarding passengers only).
Surrounding area
Usami Onsen
See also
List of Railway Stations in Japan
References
External links
JR East Usami Station
|
connecting line
|
{
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211
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"Itō Line"
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|
Usami Station (宇佐美駅, Usami-eki) is a railway station in the northern part of the city of Itō, Shizuoka Prefecture, Japan, operated by East Japan Railway Company (JR East).
Lines
Usami Station is served by the Itō Line, and is located 13.0 kilometers from the starting point of the line at Atami Station and 117.6 kilometers from Tokyo Station.
Station layout
Usami Station has two opposed ground level side platforms connected by a footbridge. The station building has automated ticket machines and Suica automated turnstiles, and is unattended.
Platforms
History
Usami Station opened on December 15, 1938, when the section of the Itō Line linking Ajiro with Itō was completed. Freight services were discontinued on November 1, 1958. On April 1, 1987, along with division and privatization of the Japan National Railway, East Japan Railway Company started operating this station.
Passenger statistics
In fiscal 2013, the station was used by an average of 1254 passengers daily (boarding passengers only).
Surrounding area
Usami Onsen
See also
List of Railway Stations in Japan
References
External links
JR East Usami Station
|
located in the administrative territorial entity
|
{
"answer_start": [
90
],
"text": [
"Itō"
]
}
|
Usami Station (宇佐美駅, Usami-eki) is a railway station in the northern part of the city of Itō, Shizuoka Prefecture, Japan, operated by East Japan Railway Company (JR East).
Lines
Usami Station is served by the Itō Line, and is located 13.0 kilometers from the starting point of the line at Atami Station and 117.6 kilometers from Tokyo Station.
Station layout
Usami Station has two opposed ground level side platforms connected by a footbridge. The station building has automated ticket machines and Suica automated turnstiles, and is unattended.
Platforms
History
Usami Station opened on December 15, 1938, when the section of the Itō Line linking Ajiro with Itō was completed. Freight services were discontinued on November 1, 1958. On April 1, 1987, along with division and privatization of the Japan National Railway, East Japan Railway Company started operating this station.
Passenger statistics
In fiscal 2013, the station was used by an average of 1254 passengers daily (boarding passengers only).
Surrounding area
Usami Onsen
See also
List of Railway Stations in Japan
References
External links
JR East Usami Station
|
operator
|
{
"answer_start": [
135
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"text": [
"East Japan Railway Company"
]
}
|
Usami Station (宇佐美駅, Usami-eki) is a railway station in the northern part of the city of Itō, Shizuoka Prefecture, Japan, operated by East Japan Railway Company (JR East).
Lines
Usami Station is served by the Itō Line, and is located 13.0 kilometers from the starting point of the line at Atami Station and 117.6 kilometers from Tokyo Station.
Station layout
Usami Station has two opposed ground level side platforms connected by a footbridge. The station building has automated ticket machines and Suica automated turnstiles, and is unattended.
Platforms
History
Usami Station opened on December 15, 1938, when the section of the Itō Line linking Ajiro with Itō was completed. Freight services were discontinued on November 1, 1958. On April 1, 1987, along with division and privatization of the Japan National Railway, East Japan Railway Company started operating this station.
Passenger statistics
In fiscal 2013, the station was used by an average of 1254 passengers daily (boarding passengers only).
Surrounding area
Usami Onsen
See also
List of Railway Stations in Japan
References
External links
JR East Usami Station
|
Commons category
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Milton Lilbourne is a village and civil parish in the county of Wiltshire, England, in the Vale of Pewsey between Pewsey and Burbage. It is largely a mixed residential area centred on the Manor. The nearest town is Marlborough, 5.5 miles (8.9 km) to the north.
The parish includes the following hamlets:
Clench – to the north, near Wootton Rivers
Fyfield with Fyfield Manor – west, near Pewsey (not to be confused with the village of Fyfield near Marlborough)
Little Salisbury – west, on the Pewsey-Burbage road
Littleworth – north, on the other side of the Pewsey-Burbage road
Milkhouse Water, formerly Milcot Water – northwest, by the Avon
New Mill – north, also by the AvonThe parish is unusual in that it has a long thin shape and is one of the few to have boundaries on the uplands to both south and north of the Vale. The southern boundary passes by a long barrow and the northern one abuts the prehistoric fort on Martinsell Hill.
History
The parish contains several prehistoric features including the Giants Grave to the south (a Neolithic long barrow) and a Bronze Age Barrow Cemetery at Milton Hill Farm."Milton" in the village's name probably derives from its position as "middle tun" between Pewsey and Easton Royal, the "east tun". "Lilbourne" is from Lillebonne, the surname of lords of the manor.The Manor House dates from c.1710 and is Grade II* listed.
Parish church
There was a vicarage here by 1195. The parish church of St Peter is in squared and coursed rubble with stone dressings, and ashlar copings and battlements. When the chancel was rebuilt in the 14th century, the jambs of the arch of the 12th-century church were retained; the four-bay north arcade is from the 13th century.Restoration of the chancel in 1859 was to designs of G.E. Street, and in 1875 J. L. Pearson retired the nave, aisle and porch. The northwest tower has six bells, five of them cast by Robert Wells II in 1789. The building was recorded as Grade II* listed in 1959.The benefice was united with Easton Royal in 1929, and with Pewsey and Wootton Rivers in 1991. Today the parish is part of the Vale of Pewsey team of churches, centered on St John's, Pewsey.
Transport
The Kennet and Avon Canal crosses the parish, using the Avon valley. The Reading to Taunton railway follows the same route; the nearest station is Pewsey. From 1928 to 1966 there was a halt at Wootton Rivers, a short distance outside the parish.
Amenities
Facilities include the Village Hall with its playing fields. On the Pewsey-Burbage road in the area known as Little Salisbury stood the Three Horse Shoes pub, closed in 2009. The nearest shops are in Pewsey, about 2 miles (3.2 km) away.
References
External links
Milton Lilbourne Parish Council
"Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
"Church of St. Peter, Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
Pewsey Village site
|
instance of
|
{
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Milton Lilbourne is a village and civil parish in the county of Wiltshire, England, in the Vale of Pewsey between Pewsey and Burbage. It is largely a mixed residential area centred on the Manor. The nearest town is Marlborough, 5.5 miles (8.9 km) to the north.
The parish includes the following hamlets:
Clench – to the north, near Wootton Rivers
Fyfield with Fyfield Manor – west, near Pewsey (not to be confused with the village of Fyfield near Marlborough)
Little Salisbury – west, on the Pewsey-Burbage road
Littleworth – north, on the other side of the Pewsey-Burbage road
Milkhouse Water, formerly Milcot Water – northwest, by the Avon
New Mill – north, also by the AvonThe parish is unusual in that it has a long thin shape and is one of the few to have boundaries on the uplands to both south and north of the Vale. The southern boundary passes by a long barrow and the northern one abuts the prehistoric fort on Martinsell Hill.
History
The parish contains several prehistoric features including the Giants Grave to the south (a Neolithic long barrow) and a Bronze Age Barrow Cemetery at Milton Hill Farm."Milton" in the village's name probably derives from its position as "middle tun" between Pewsey and Easton Royal, the "east tun". "Lilbourne" is from Lillebonne, the surname of lords of the manor.The Manor House dates from c.1710 and is Grade II* listed.
Parish church
There was a vicarage here by 1195. The parish church of St Peter is in squared and coursed rubble with stone dressings, and ashlar copings and battlements. When the chancel was rebuilt in the 14th century, the jambs of the arch of the 12th-century church were retained; the four-bay north arcade is from the 13th century.Restoration of the chancel in 1859 was to designs of G.E. Street, and in 1875 J. L. Pearson retired the nave, aisle and porch. The northwest tower has six bells, five of them cast by Robert Wells II in 1789. The building was recorded as Grade II* listed in 1959.The benefice was united with Easton Royal in 1929, and with Pewsey and Wootton Rivers in 1991. Today the parish is part of the Vale of Pewsey team of churches, centered on St John's, Pewsey.
Transport
The Kennet and Avon Canal crosses the parish, using the Avon valley. The Reading to Taunton railway follows the same route; the nearest station is Pewsey. From 1928 to 1966 there was a halt at Wootton Rivers, a short distance outside the parish.
Amenities
Facilities include the Village Hall with its playing fields. On the Pewsey-Burbage road in the area known as Little Salisbury stood the Three Horse Shoes pub, closed in 2009. The nearest shops are in Pewsey, about 2 miles (3.2 km) away.
References
External links
Milton Lilbourne Parish Council
"Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
"Church of St. Peter, Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
Pewsey Village site
|
located in the administrative territorial entity
|
{
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64
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"Wiltshire"
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Milton Lilbourne is a village and civil parish in the county of Wiltshire, England, in the Vale of Pewsey between Pewsey and Burbage. It is largely a mixed residential area centred on the Manor. The nearest town is Marlborough, 5.5 miles (8.9 km) to the north.
The parish includes the following hamlets:
Clench – to the north, near Wootton Rivers
Fyfield with Fyfield Manor – west, near Pewsey (not to be confused with the village of Fyfield near Marlborough)
Little Salisbury – west, on the Pewsey-Burbage road
Littleworth – north, on the other side of the Pewsey-Burbage road
Milkhouse Water, formerly Milcot Water – northwest, by the Avon
New Mill – north, also by the AvonThe parish is unusual in that it has a long thin shape and is one of the few to have boundaries on the uplands to both south and north of the Vale. The southern boundary passes by a long barrow and the northern one abuts the prehistoric fort on Martinsell Hill.
History
The parish contains several prehistoric features including the Giants Grave to the south (a Neolithic long barrow) and a Bronze Age Barrow Cemetery at Milton Hill Farm."Milton" in the village's name probably derives from its position as "middle tun" between Pewsey and Easton Royal, the "east tun". "Lilbourne" is from Lillebonne, the surname of lords of the manor.The Manor House dates from c.1710 and is Grade II* listed.
Parish church
There was a vicarage here by 1195. The parish church of St Peter is in squared and coursed rubble with stone dressings, and ashlar copings and battlements. When the chancel was rebuilt in the 14th century, the jambs of the arch of the 12th-century church were retained; the four-bay north arcade is from the 13th century.Restoration of the chancel in 1859 was to designs of G.E. Street, and in 1875 J. L. Pearson retired the nave, aisle and porch. The northwest tower has six bells, five of them cast by Robert Wells II in 1789. The building was recorded as Grade II* listed in 1959.The benefice was united with Easton Royal in 1929, and with Pewsey and Wootton Rivers in 1991. Today the parish is part of the Vale of Pewsey team of churches, centered on St John's, Pewsey.
Transport
The Kennet and Avon Canal crosses the parish, using the Avon valley. The Reading to Taunton railway follows the same route; the nearest station is Pewsey. From 1928 to 1966 there was a halt at Wootton Rivers, a short distance outside the parish.
Amenities
Facilities include the Village Hall with its playing fields. On the Pewsey-Burbage road in the area known as Little Salisbury stood the Three Horse Shoes pub, closed in 2009. The nearest shops are in Pewsey, about 2 miles (3.2 km) away.
References
External links
Milton Lilbourne Parish Council
"Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
"Church of St. Peter, Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
Pewsey Village site
|
Commons category
|
{
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0
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Milton Lilbourne is a village and civil parish in the county of Wiltshire, England, in the Vale of Pewsey between Pewsey and Burbage. It is largely a mixed residential area centred on the Manor. The nearest town is Marlborough, 5.5 miles (8.9 km) to the north.
The parish includes the following hamlets:
Clench – to the north, near Wootton Rivers
Fyfield with Fyfield Manor – west, near Pewsey (not to be confused with the village of Fyfield near Marlborough)
Little Salisbury – west, on the Pewsey-Burbage road
Littleworth – north, on the other side of the Pewsey-Burbage road
Milkhouse Water, formerly Milcot Water – northwest, by the Avon
New Mill – north, also by the AvonThe parish is unusual in that it has a long thin shape and is one of the few to have boundaries on the uplands to both south and north of the Vale. The southern boundary passes by a long barrow and the northern one abuts the prehistoric fort on Martinsell Hill.
History
The parish contains several prehistoric features including the Giants Grave to the south (a Neolithic long barrow) and a Bronze Age Barrow Cemetery at Milton Hill Farm."Milton" in the village's name probably derives from its position as "middle tun" between Pewsey and Easton Royal, the "east tun". "Lilbourne" is from Lillebonne, the surname of lords of the manor.The Manor House dates from c.1710 and is Grade II* listed.
Parish church
There was a vicarage here by 1195. The parish church of St Peter is in squared and coursed rubble with stone dressings, and ashlar copings and battlements. When the chancel was rebuilt in the 14th century, the jambs of the arch of the 12th-century church were retained; the four-bay north arcade is from the 13th century.Restoration of the chancel in 1859 was to designs of G.E. Street, and in 1875 J. L. Pearson retired the nave, aisle and porch. The northwest tower has six bells, five of them cast by Robert Wells II in 1789. The building was recorded as Grade II* listed in 1959.The benefice was united with Easton Royal in 1929, and with Pewsey and Wootton Rivers in 1991. Today the parish is part of the Vale of Pewsey team of churches, centered on St John's, Pewsey.
Transport
The Kennet and Avon Canal crosses the parish, using the Avon valley. The Reading to Taunton railway follows the same route; the nearest station is Pewsey. From 1928 to 1966 there was a halt at Wootton Rivers, a short distance outside the parish.
Amenities
Facilities include the Village Hall with its playing fields. On the Pewsey-Burbage road in the area known as Little Salisbury stood the Three Horse Shoes pub, closed in 2009. The nearest shops are in Pewsey, about 2 miles (3.2 km) away.
References
External links
Milton Lilbourne Parish Council
"Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
"Church of St. Peter, Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
Pewsey Village site
|
authority
|
{
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2694
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Milton Lilbourne is a village and civil parish in the county of Wiltshire, England, in the Vale of Pewsey between Pewsey and Burbage. It is largely a mixed residential area centred on the Manor. The nearest town is Marlborough, 5.5 miles (8.9 km) to the north.
The parish includes the following hamlets:
Clench – to the north, near Wootton Rivers
Fyfield with Fyfield Manor – west, near Pewsey (not to be confused with the village of Fyfield near Marlborough)
Little Salisbury – west, on the Pewsey-Burbage road
Littleworth – north, on the other side of the Pewsey-Burbage road
Milkhouse Water, formerly Milcot Water – northwest, by the Avon
New Mill – north, also by the AvonThe parish is unusual in that it has a long thin shape and is one of the few to have boundaries on the uplands to both south and north of the Vale. The southern boundary passes by a long barrow and the northern one abuts the prehistoric fort on Martinsell Hill.
History
The parish contains several prehistoric features including the Giants Grave to the south (a Neolithic long barrow) and a Bronze Age Barrow Cemetery at Milton Hill Farm."Milton" in the village's name probably derives from its position as "middle tun" between Pewsey and Easton Royal, the "east tun". "Lilbourne" is from Lillebonne, the surname of lords of the manor.The Manor House dates from c.1710 and is Grade II* listed.
Parish church
There was a vicarage here by 1195. The parish church of St Peter is in squared and coursed rubble with stone dressings, and ashlar copings and battlements. When the chancel was rebuilt in the 14th century, the jambs of the arch of the 12th-century church were retained; the four-bay north arcade is from the 13th century.Restoration of the chancel in 1859 was to designs of G.E. Street, and in 1875 J. L. Pearson retired the nave, aisle and porch. The northwest tower has six bells, five of them cast by Robert Wells II in 1789. The building was recorded as Grade II* listed in 1959.The benefice was united with Easton Royal in 1929, and with Pewsey and Wootton Rivers in 1991. Today the parish is part of the Vale of Pewsey team of churches, centered on St John's, Pewsey.
Transport
The Kennet and Avon Canal crosses the parish, using the Avon valley. The Reading to Taunton railway follows the same route; the nearest station is Pewsey. From 1928 to 1966 there was a halt at Wootton Rivers, a short distance outside the parish.
Amenities
Facilities include the Village Hall with its playing fields. On the Pewsey-Burbage road in the area known as Little Salisbury stood the Three Horse Shoes pub, closed in 2009. The nearest shops are in Pewsey, about 2 miles (3.2 km) away.
References
External links
Milton Lilbourne Parish Council
"Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
"Church of St. Peter, Milton Lilbourne". Wiltshire Community History. Wiltshire Council. Retrieved 12 March 2015.
Pewsey Village site
|
historic county
|
{
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64
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|
Sylva Stuart Watson (her married name) (4 March 1894 – 26 March 1984) was licensee and manager of the Theatre Royal, Haymarket, in London, England, from 1963.
Sylva Larratt was born in 1894 in Camberwell the daughter of Herbert Arthur and Jane Larratt (née Van Dyk), she would later use the name Little Carmen Sylva when performing as child vocalist with her father who was a baritone. She married Stuart Watson in 1920 in Wandsworth.
Having been a child singer, she began her adult career singing opera and in music hall, and worked as an actress, once performing with Sybil Thorndike.She formed the Theatre Royal Haymarket Company which included Ralph Richardson and Flora Robson.Her father-in-law Horace Watson was previously manager of the Theatre Royal, Haymarket.In 1969, she campaigned against the opening of theatres on Sundays, and was quoted in the House of Lords by Martin Peake, 2nd Viscount Ingleby on the matter, in 1971.She appeared as a castaway on the BBC Radio programme Desert Island Discs on 21 August 1971, where her book choice consisted of volumes on astronomy and astrology, and her luxury item was forty yards of flowered chintz, a needle & cotton.Watson died on 26 March 1984 in London.
Notes
== References ==
|
occupation
|
{
"answer_start": [
455
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"text": [
"singer"
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|
Sylva Stuart Watson (her married name) (4 March 1894 – 26 March 1984) was licensee and manager of the Theatre Royal, Haymarket, in London, England, from 1963.
Sylva Larratt was born in 1894 in Camberwell the daughter of Herbert Arthur and Jane Larratt (née Van Dyk), she would later use the name Little Carmen Sylva when performing as child vocalist with her father who was a baritone. She married Stuart Watson in 1920 in Wandsworth.
Having been a child singer, she began her adult career singing opera and in music hall, and worked as an actress, once performing with Sybil Thorndike.She formed the Theatre Royal Haymarket Company which included Ralph Richardson and Flora Robson.Her father-in-law Horace Watson was previously manager of the Theatre Royal, Haymarket.In 1969, she campaigned against the opening of theatres on Sundays, and was quoted in the House of Lords by Martin Peake, 2nd Viscount Ingleby on the matter, in 1971.She appeared as a castaway on the BBC Radio programme Desert Island Discs on 21 August 1971, where her book choice consisted of volumes on astronomy and astrology, and her luxury item was forty yards of flowered chintz, a needle & cotton.Watson died on 26 March 1984 in London.
Notes
== References ==
|
family name
|
{
"answer_start": [
13
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"text": [
"Watson"
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}
|
Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
place of birth
|
{
"answer_start": [
324
],
"text": [
"Melbourne"
]
}
|
Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
place of death
|
{
"answer_start": [
647
],
"text": [
"Berrima"
]
}
|
Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
country of citizenship
|
{
"answer_start": [
56
],
"text": [
"Australia"
]
}
|
Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
field of work
|
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Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
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occupation
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Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
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award received
|
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Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
family name
|
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Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
given name
|
{
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4
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|
Dr. Grace Perry (3 February 1927 — 3 July 1987) was an Australian poet, playwright, and founder and editor of the South Head Press and Poetry Australia magazine. Her press and magazine provided launching pads for many noted Australian poets such as Bruce Beaver, Les Murray, John Tranter and John Millett.
She was born in Melbourne and educated in Queensland and Sydney. She graduated in medicine from the University of Sydney in 1951. She split her time between pediatrics and literary affairs as poet, editor, publisher. She was a member of the Australian Society of Authors. She organised poetry workshops and writing schools in Sydney. At Berrima, where she lived in her last years, she ran a 2000-acre property and maintained an interest in stud breeding.
Editorship
Perry controlled her magazine, Poetry Australia, and was committed to publishing diverse styles and subjects. Perry aimed for international significance while maintaining a strong Australian presence. The work of many international writers, including translations, appeared in Poetry Australia. Unusually, most issues did not identify the contributors' nationalities. International contributors included Ezra Pound, Ted Hughes, Seamus Heaney, Louis Simpson, Robert Peters and Margaret Atwood.
Translations included early Russian poets (by Rosemary Dobson and David Campbell), Laurence Springarn's translations from Portuguese and Mark Scrivener's translations of German classics. Poetry Australia published special issues of New Zealand, Canadian, Italian, Japanese, Dutch and Flemish, American, Gaelic, French, Austrian, Swedish and Papua New Guinean poetry.
Perry's published works
Staring at the Stars (1942)
I Live a Life of Dreams (1943)
Red Scarf (1963), in two sections: 'Where the Wind Moves' offers love poems in which natural scenery, usually seascapes, is used to reflect personal emotions; and 'Red Scarf', featuring striking verse born out of her medical experiences, expressing the horror and fascination of disease and death.
Frozen Section (1967), highlights Perry's central concern, the accommodation of the clinician's detachment to the poet's sensitive involvement.
Two Houses (1969) contains the sequence 'Notes on a Journey', small intense landscape images of the picturesque Warrumbungles and western New South Wales (NSW), and poems of contemporary events such as President Lyndon B. Johnson's Australian visit.
Black Swans at Berrima (1972), a sequence of individual pieces, begins with the building of the historic magistrate's house at Berrima, describes a journey from Sydney to Berrima, and explores the passing of time and the approach of age and death.
Berrima Winter (1974)
Journal of a Surgeon's Wife and Other Poems (1976). The title poem is a long verse diary of the experiences of an immigrant doctor's wife in early colonial Australia. The poem captures the sense of exile that so oppressed the early settlers.
Snow in Summer (1980)
Last Bride at Longsleep 1981 is a play, with John Millett.
German translator Margaret Diesendorf translated some of Perry’s poetry for Poetry Australia No. 119 (1989).
Perry's unpublished works
"Grace Perry aggregated collection of papers". State Library of NSW catalogue. Retrieved 19 May 2022.
Awards and Accolades
In 1985 Perry won the NSW Premier's Special Literary Award for services to literature. In 1986 she was made Member of the Order of Australia (AM) for "service to Australian literature, particularly as editor of Poetry Australia". Australia Fund. This fund was instrumental in the establishment in 2002 of the magazine Blue Dog: Australian Poetry, which editor Ron Pretty declared was in "direct line of succession from Poetry Australia". The Grace Perry Memorial Award recognises achievements by Australian poets.
Further reading
Dorothy Jensen, The Remarkable Grace Perry: Poet and Publisher of Poetry Australia Paediatrician and breeder of Simmental Bulls (2020).
Jensen, Dorothy May (2020). Grace Perry : Australian poet, publisher and paediatrician. Seven Hills, NSW. ISBN 978-1-76032-359-2. OCLC 1236083553.
Nelson, Penelope. "So you want to be a poet" (PDF). Openbook. Summer 2020: 64–67.
== References ==
|
different from
|
{
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4
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"text": [
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Apache Jackrabbit is an open source content repository for the Java platform. The Jackrabbit project was started on August 28, 2004, when Day Software licensed an initial implementation of the Java Content Repository API (JCR). Jackrabbit was also used as the reference implementation of JSR-170, specified within the Java Community Process. The project graduated from the Apache Incubator on March 15, 2006, and is now a Top Level Project of the Apache Software Foundation.
JCR specifies an API for application developers (and application frameworks) to use for interaction with modern content repositories that provide content services such as searching, versioning, transactions, etc.
Features
Fine and coarse-grained content access
Hierarchical content
Structured content
Node types and mixins
Property types - text, number, date
Binary properties
XPath queries
SQL queries
Unstructured content
Import and export
Referential integrity
Access control
Versioning
JTA support
Observation
Locking
Clustering
Multiple persistence models
See also
Apache Sling - a web framework for building applications on top of Apache Jackrabbit
Hippo CMS - an Open Source content management system based on Apache Jackrabbit
Jahia - Open Source ECM based on Apache Jackrabbit
Magnolia (CMS) - an Open Source content management system based on Apache Jackrabbit
OpenKM - Open Source KM based on Apache Jackrabbit
Sakai Project - Open Source Collaboration and Learning Environment based on Apache Sling and Apache Jackrabbit
Adobe Experience Manager - experience management system based on Apache Jackrabbit Oak, successor of the Day CQ content management system acquired by Adobe in 2010
References
External links
Jackrabbit's Home Page
|
developer
|
{
"answer_start": [
447
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"text": [
"Apache Software Foundation"
]
}
|
Apache Jackrabbit is an open source content repository for the Java platform. The Jackrabbit project was started on August 28, 2004, when Day Software licensed an initial implementation of the Java Content Repository API (JCR). Jackrabbit was also used as the reference implementation of JSR-170, specified within the Java Community Process. The project graduated from the Apache Incubator on March 15, 2006, and is now a Top Level Project of the Apache Software Foundation.
JCR specifies an API for application developers (and application frameworks) to use for interaction with modern content repositories that provide content services such as searching, versioning, transactions, etc.
Features
Fine and coarse-grained content access
Hierarchical content
Structured content
Node types and mixins
Property types - text, number, date
Binary properties
XPath queries
SQL queries
Unstructured content
Import and export
Referential integrity
Access control
Versioning
JTA support
Observation
Locking
Clustering
Multiple persistence models
See also
Apache Sling - a web framework for building applications on top of Apache Jackrabbit
Hippo CMS - an Open Source content management system based on Apache Jackrabbit
Jahia - Open Source ECM based on Apache Jackrabbit
Magnolia (CMS) - an Open Source content management system based on Apache Jackrabbit
OpenKM - Open Source KM based on Apache Jackrabbit
Sakai Project - Open Source Collaboration and Learning Environment based on Apache Sling and Apache Jackrabbit
Adobe Experience Manager - experience management system based on Apache Jackrabbit Oak, successor of the Day CQ content management system acquired by Adobe in 2010
References
External links
Jackrabbit's Home Page
|
programmed in
|
{
"answer_start": [
63
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"text": [
"Java"
]
}
|
Apache Jackrabbit is an open source content repository for the Java platform. The Jackrabbit project was started on August 28, 2004, when Day Software licensed an initial implementation of the Java Content Repository API (JCR). Jackrabbit was also used as the reference implementation of JSR-170, specified within the Java Community Process. The project graduated from the Apache Incubator on March 15, 2006, and is now a Top Level Project of the Apache Software Foundation.
JCR specifies an API for application developers (and application frameworks) to use for interaction with modern content repositories that provide content services such as searching, versioning, transactions, etc.
Features
Fine and coarse-grained content access
Hierarchical content
Structured content
Node types and mixins
Property types - text, number, date
Binary properties
XPath queries
SQL queries
Unstructured content
Import and export
Referential integrity
Access control
Versioning
JTA support
Observation
Locking
Clustering
Multiple persistence models
See also
Apache Sling - a web framework for building applications on top of Apache Jackrabbit
Hippo CMS - an Open Source content management system based on Apache Jackrabbit
Jahia - Open Source ECM based on Apache Jackrabbit
Magnolia (CMS) - an Open Source content management system based on Apache Jackrabbit
OpenKM - Open Source KM based on Apache Jackrabbit
Sakai Project - Open Source Collaboration and Learning Environment based on Apache Sling and Apache Jackrabbit
Adobe Experience Manager - experience management system based on Apache Jackrabbit Oak, successor of the Day CQ content management system acquired by Adobe in 2010
References
External links
Jackrabbit's Home Page
|
has use
|
{
"answer_start": [
36
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"text": [
"content repository"
]
}
|
Apache Jackrabbit is an open source content repository for the Java platform. The Jackrabbit project was started on August 28, 2004, when Day Software licensed an initial implementation of the Java Content Repository API (JCR). Jackrabbit was also used as the reference implementation of JSR-170, specified within the Java Community Process. The project graduated from the Apache Incubator on March 15, 2006, and is now a Top Level Project of the Apache Software Foundation.
JCR specifies an API for application developers (and application frameworks) to use for interaction with modern content repositories that provide content services such as searching, versioning, transactions, etc.
Features
Fine and coarse-grained content access
Hierarchical content
Structured content
Node types and mixins
Property types - text, number, date
Binary properties
XPath queries
SQL queries
Unstructured content
Import and export
Referential integrity
Access control
Versioning
JTA support
Observation
Locking
Clustering
Multiple persistence models
See also
Apache Sling - a web framework for building applications on top of Apache Jackrabbit
Hippo CMS - an Open Source content management system based on Apache Jackrabbit
Jahia - Open Source ECM based on Apache Jackrabbit
Magnolia (CMS) - an Open Source content management system based on Apache Jackrabbit
OpenKM - Open Source KM based on Apache Jackrabbit
Sakai Project - Open Source Collaboration and Learning Environment based on Apache Sling and Apache Jackrabbit
Adobe Experience Manager - experience management system based on Apache Jackrabbit Oak, successor of the Day CQ content management system acquired by Adobe in 2010
References
External links
Jackrabbit's Home Page
|
Commons category
|
{
"answer_start": [
0
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"text": [
"Apache Jackrabbit"
]
}
|
The Onawa IOOF Opera House, also known as the Onawa Opera House, is a historic opera house located in Onawa, Iowa. It was completed in November, 1900, only to be heavily damaged in a fire a month later, on December 24, 1900.It has been deemed historically significant as the building most strongly associated Onawa's "strong tradition of live-stage entertainment" from the late 1880s to the mid-1920s, involving three structures.: 12 It was listed on the National Register of Historic Places in 1990.
== References ==
|
instance of
|
{
"answer_start": [
79
],
"text": [
"opera house"
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}
|
The Onawa IOOF Opera House, also known as the Onawa Opera House, is a historic opera house located in Onawa, Iowa. It was completed in November, 1900, only to be heavily damaged in a fire a month later, on December 24, 1900.It has been deemed historically significant as the building most strongly associated Onawa's "strong tradition of live-stage entertainment" from the late 1880s to the mid-1920s, involving three structures.: 12 It was listed on the National Register of Historic Places in 1990.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
4
],
"text": [
"Onawa"
]
}
|
The Onawa IOOF Opera House, also known as the Onawa Opera House, is a historic opera house located in Onawa, Iowa. It was completed in November, 1900, only to be heavily damaged in a fire a month later, on December 24, 1900.It has been deemed historically significant as the building most strongly associated Onawa's "strong tradition of live-stage entertainment" from the late 1880s to the mid-1920s, involving three structures.: 12 It was listed on the National Register of Historic Places in 1990.
== References ==
|
headquarters location
|
{
"answer_start": [
4
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"text": [
"Onawa"
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}
|
The Onawa IOOF Opera House, also known as the Onawa Opera House, is a historic opera house located in Onawa, Iowa. It was completed in November, 1900, only to be heavily damaged in a fire a month later, on December 24, 1900.It has been deemed historically significant as the building most strongly associated Onawa's "strong tradition of live-stage entertainment" from the late 1880s to the mid-1920s, involving three structures.: 12 It was listed on the National Register of Historic Places in 1990.
== References ==
|
Commons category
|
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"text": [
"Onawa IOOF Opera House"
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The 1922 World Series was the championship series in Major League Baseball for the 1922 season. The 19th edition of the World Series, it matched the National League champion New York Giants against the American League champion New York Yankees. The Giants beat the Yankees in five games (four games to zero, with one tie) in the first Series with a permanent best-of-seven format. By now, the term "World Series" was being used frequently, as opposed to "World's Series". As with the 1921 World Series, every game was played at the Polo Grounds because it housed both teams, with the home team alternating; it was also the Yankees' final series to be played at the Polo Grounds as a home team, as they would move into the then-under construction Yankee Stadium for the following season, which ended in them winning the rematch against the Giants.
The Giants held Babe Ruth in check (he batted only .118 with just one RBI) and scored just enough runs to win each of the games outside the controversial Game 2 tie. That game was called on account of darkness, but many thought there was sufficient light to have played some more innings (the sun was still in the sky), and there were some suspicions that one or both teams might have "allowed" the tie to happen to increase the overall gate receipts. Commissioner Landis was among those who was dissatisfied with the result. One story is that Landis asked Umpire Hildebrand, "Why the Sam Hill did you call the game?" The umpire answered, "There was a temporary haze on the field." The game decision was in the hands of the umpires, but the Commissioner's Office controlled the gate receipts. Landis ordered the money, more than $120,000, turned over to World War I charities, thus nullifying any impropriety. The tied game would turn out to be the third (and final) tied game in the history of the World Series. The other two tied games occurred in 1907 and 1912. No ties are possible under later rules, which allow for suspension of a tied game and resumption of it at a later date, as with Game 5 of the 2008 World Series.
As of 2023, this is the last time the Giants have won the World Series at home, as their next five championships were all clinched on the road. This would prove to be Giants' manager John McGraw's third and final World Series win.
Summary
NL New York Giants (4) vs. AL New York Yankees (0)
Matchups
Game 1
The game and Series remained scoreless until the sixth inning. Whitey Witt tripled off of Art Nehf, then was cut down at home trying to score on a fielder's choice, but a Babe Ruth hit got the run home. The Yankees added another run next inning on Aaron Ward's sacrifice fly with runners on second and third. A three-run Giant rally in the eighth knocked out Yankee starter Bullet Joe Bush, who allowed four straight leadoff singles, the last of which to Irish Meusel scoring two. and the winning run coming off reliever Waite Hoyt on a Ross Youngs sacrifice fly.
Game 2
This was the controversial tie (see above). Pitchers Bob Shawkey and Jesse Barnes went all 10 innings. The Giants scored all three runs in the first on Irish Meusel's three-run home run after two singles. The Yankees scored a run in the first on Wally Pipp's RBI single after Joe Dugan reached second on an error and another run in the fourth on Aaron Ward's home run. The Yankees had tied the game in the eighth on doubles by Babe Ruth and Bob Meusel, but that is the way the game ended.
Game 3
Knuckleballer Jack Scott kept the Yankees off the board. In the bottom of the third with runners on second and third, Frankie Frisch's sacrifice fly and Irish Meusel's RBI single scored a run each for the Giants, who added an insurance run in the seventh on Frankie Frisch's RBI single. The game took just 1 hour, 48 minutes.
Game 4
This contest moved along even faster than Game 3. It was over in a snappy 1:41, with Giants pitcher Hugh McQuillan going the distance for a 4-3 win. The Yankees scored two runs in the first on back-to-back singles by Wally Pipp and Bob Meusel, but in the fifth after a leadoff single and double, Dave Bancroft's two-run single tied the game. After a single and groundout, Irish Meusel's groundout and Ross Youngs's RBI single scored a run each. Aaron Ward's home run in the seventh cut the Giants' lead to one, but the Yankees did not score after that.
Game 5
Art Nehf's five-hit pitching combined with a three-run eighth inning won the Series for the Giants. The Yankees scored a run in the first when Joe Dugan singled with one out, moved to second on a sacrifice bunt and scored on Wally Pipp's RBI single, but in the bottom of the second with runners on second and third, Bill Cunningham's two-run single gave the Giants the lead. The Yankees tied the game in the fifth on Bullet Joe Bush's RBI single after a walk and single, then took the lead on Everett Scott's sacrifice fly with runners on second and third. The decisive rally began with a Heinie Groh single and Frankie Frisch double. After an intentional walk to Ross Youngs, a two-run single by High Pockets Kelly put the Giants on top. The next batter, Lee King, inserted in the outfield that inning for defensive purposes, delivered an RBI single to make it 5-3, and that's how it ended.
This was the second of three consecutive matchups between the Yankees and Giants (1921–1923) marked the only time (as of 2023), that three straight World Series featured the same two clubs. Brothers Bob and Irish Meusel played against each other in each of those three series, making them the first set of brothers to play against each other on opposing teams in a World Series or any Big Four championship series.The Giants became the second NL team to win back-to-back World Series, following the Chicago Cubs in 1907–08, and remained the last until the 1975–76 Cincinnati Reds. This also remains the last World Series to be won by the Giants at home, as their championships of 1933 and 1954 (for New York) and 2010, 2012 and 2014 (for San Francisco) were all clinched as the visiting team.
Composite line score
1922 World Series (4–0–1): New York Giants (N.L.) over New York Yankees (A.L.)
Notes
References
Cohen, Richard M.; Neft, David S. (1990). The World Series: Complete Play-By-Play of Every Game, 1903–1989. New York: St. Martin's Press. pp. 93–96. ISBN 0-312-03960-3.
Reichler, Joseph (1982). The Baseball Encyclopedia (5th ed.). Macmillan Publishing. p. 2130. ISBN 0-02-579010-2.
External links
1922 World Series at WorldSeries.com via MLB.com
1922 World Series at Baseball Almanac
1922 World Series at Baseball-Reference.com
The 1922 Post-Season Games (box scores and play-by-play) at Retrosheet
History of the World Series - 1922 at The Sporting News. Archived from the original in May 2006.
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instance of
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"text": [
"World Series"
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The 1922 World Series was the championship series in Major League Baseball for the 1922 season. The 19th edition of the World Series, it matched the National League champion New York Giants against the American League champion New York Yankees. The Giants beat the Yankees in five games (four games to zero, with one tie) in the first Series with a permanent best-of-seven format. By now, the term "World Series" was being used frequently, as opposed to "World's Series". As with the 1921 World Series, every game was played at the Polo Grounds because it housed both teams, with the home team alternating; it was also the Yankees' final series to be played at the Polo Grounds as a home team, as they would move into the then-under construction Yankee Stadium for the following season, which ended in them winning the rematch against the Giants.
The Giants held Babe Ruth in check (he batted only .118 with just one RBI) and scored just enough runs to win each of the games outside the controversial Game 2 tie. That game was called on account of darkness, but many thought there was sufficient light to have played some more innings (the sun was still in the sky), and there were some suspicions that one or both teams might have "allowed" the tie to happen to increase the overall gate receipts. Commissioner Landis was among those who was dissatisfied with the result. One story is that Landis asked Umpire Hildebrand, "Why the Sam Hill did you call the game?" The umpire answered, "There was a temporary haze on the field." The game decision was in the hands of the umpires, but the Commissioner's Office controlled the gate receipts. Landis ordered the money, more than $120,000, turned over to World War I charities, thus nullifying any impropriety. The tied game would turn out to be the third (and final) tied game in the history of the World Series. The other two tied games occurred in 1907 and 1912. No ties are possible under later rules, which allow for suspension of a tied game and resumption of it at a later date, as with Game 5 of the 2008 World Series.
As of 2023, this is the last time the Giants have won the World Series at home, as their next five championships were all clinched on the road. This would prove to be Giants' manager John McGraw's third and final World Series win.
Summary
NL New York Giants (4) vs. AL New York Yankees (0)
Matchups
Game 1
The game and Series remained scoreless until the sixth inning. Whitey Witt tripled off of Art Nehf, then was cut down at home trying to score on a fielder's choice, but a Babe Ruth hit got the run home. The Yankees added another run next inning on Aaron Ward's sacrifice fly with runners on second and third. A three-run Giant rally in the eighth knocked out Yankee starter Bullet Joe Bush, who allowed four straight leadoff singles, the last of which to Irish Meusel scoring two. and the winning run coming off reliever Waite Hoyt on a Ross Youngs sacrifice fly.
Game 2
This was the controversial tie (see above). Pitchers Bob Shawkey and Jesse Barnes went all 10 innings. The Giants scored all three runs in the first on Irish Meusel's three-run home run after two singles. The Yankees scored a run in the first on Wally Pipp's RBI single after Joe Dugan reached second on an error and another run in the fourth on Aaron Ward's home run. The Yankees had tied the game in the eighth on doubles by Babe Ruth and Bob Meusel, but that is the way the game ended.
Game 3
Knuckleballer Jack Scott kept the Yankees off the board. In the bottom of the third with runners on second and third, Frankie Frisch's sacrifice fly and Irish Meusel's RBI single scored a run each for the Giants, who added an insurance run in the seventh on Frankie Frisch's RBI single. The game took just 1 hour, 48 minutes.
Game 4
This contest moved along even faster than Game 3. It was over in a snappy 1:41, with Giants pitcher Hugh McQuillan going the distance for a 4-3 win. The Yankees scored two runs in the first on back-to-back singles by Wally Pipp and Bob Meusel, but in the fifth after a leadoff single and double, Dave Bancroft's two-run single tied the game. After a single and groundout, Irish Meusel's groundout and Ross Youngs's RBI single scored a run each. Aaron Ward's home run in the seventh cut the Giants' lead to one, but the Yankees did not score after that.
Game 5
Art Nehf's five-hit pitching combined with a three-run eighth inning won the Series for the Giants. The Yankees scored a run in the first when Joe Dugan singled with one out, moved to second on a sacrifice bunt and scored on Wally Pipp's RBI single, but in the bottom of the second with runners on second and third, Bill Cunningham's two-run single gave the Giants the lead. The Yankees tied the game in the fifth on Bullet Joe Bush's RBI single after a walk and single, then took the lead on Everett Scott's sacrifice fly with runners on second and third. The decisive rally began with a Heinie Groh single and Frankie Frisch double. After an intentional walk to Ross Youngs, a two-run single by High Pockets Kelly put the Giants on top. The next batter, Lee King, inserted in the outfield that inning for defensive purposes, delivered an RBI single to make it 5-3, and that's how it ended.
This was the second of three consecutive matchups between the Yankees and Giants (1921–1923) marked the only time (as of 2023), that three straight World Series featured the same two clubs. Brothers Bob and Irish Meusel played against each other in each of those three series, making them the first set of brothers to play against each other on opposing teams in a World Series or any Big Four championship series.The Giants became the second NL team to win back-to-back World Series, following the Chicago Cubs in 1907–08, and remained the last until the 1975–76 Cincinnati Reds. This also remains the last World Series to be won by the Giants at home, as their championships of 1933 and 1954 (for New York) and 2010, 2012 and 2014 (for San Francisco) were all clinched as the visiting team.
Composite line score
1922 World Series (4–0–1): New York Giants (N.L.) over New York Yankees (A.L.)
Notes
References
Cohen, Richard M.; Neft, David S. (1990). The World Series: Complete Play-By-Play of Every Game, 1903–1989. New York: St. Martin's Press. pp. 93–96. ISBN 0-312-03960-3.
Reichler, Joseph (1982). The Baseball Encyclopedia (5th ed.). Macmillan Publishing. p. 2130. ISBN 0-02-579010-2.
External links
1922 World Series at WorldSeries.com via MLB.com
1922 World Series at Baseball Almanac
1922 World Series at Baseball-Reference.com
The 1922 Post-Season Games (box scores and play-by-play) at Retrosheet
History of the World Series - 1922 at The Sporting News. Archived from the original in May 2006.
|
Commons category
|
{
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4
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"text": [
"1922 World Series"
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The 1922 World Series was the championship series in Major League Baseball for the 1922 season. The 19th edition of the World Series, it matched the National League champion New York Giants against the American League champion New York Yankees. The Giants beat the Yankees in five games (four games to zero, with one tie) in the first Series with a permanent best-of-seven format. By now, the term "World Series" was being used frequently, as opposed to "World's Series". As with the 1921 World Series, every game was played at the Polo Grounds because it housed both teams, with the home team alternating; it was also the Yankees' final series to be played at the Polo Grounds as a home team, as they would move into the then-under construction Yankee Stadium for the following season, which ended in them winning the rematch against the Giants.
The Giants held Babe Ruth in check (he batted only .118 with just one RBI) and scored just enough runs to win each of the games outside the controversial Game 2 tie. That game was called on account of darkness, but many thought there was sufficient light to have played some more innings (the sun was still in the sky), and there were some suspicions that one or both teams might have "allowed" the tie to happen to increase the overall gate receipts. Commissioner Landis was among those who was dissatisfied with the result. One story is that Landis asked Umpire Hildebrand, "Why the Sam Hill did you call the game?" The umpire answered, "There was a temporary haze on the field." The game decision was in the hands of the umpires, but the Commissioner's Office controlled the gate receipts. Landis ordered the money, more than $120,000, turned over to World War I charities, thus nullifying any impropriety. The tied game would turn out to be the third (and final) tied game in the history of the World Series. The other two tied games occurred in 1907 and 1912. No ties are possible under later rules, which allow for suspension of a tied game and resumption of it at a later date, as with Game 5 of the 2008 World Series.
As of 2023, this is the last time the Giants have won the World Series at home, as their next five championships were all clinched on the road. This would prove to be Giants' manager John McGraw's third and final World Series win.
Summary
NL New York Giants (4) vs. AL New York Yankees (0)
Matchups
Game 1
The game and Series remained scoreless until the sixth inning. Whitey Witt tripled off of Art Nehf, then was cut down at home trying to score on a fielder's choice, but a Babe Ruth hit got the run home. The Yankees added another run next inning on Aaron Ward's sacrifice fly with runners on second and third. A three-run Giant rally in the eighth knocked out Yankee starter Bullet Joe Bush, who allowed four straight leadoff singles, the last of which to Irish Meusel scoring two. and the winning run coming off reliever Waite Hoyt on a Ross Youngs sacrifice fly.
Game 2
This was the controversial tie (see above). Pitchers Bob Shawkey and Jesse Barnes went all 10 innings. The Giants scored all three runs in the first on Irish Meusel's three-run home run after two singles. The Yankees scored a run in the first on Wally Pipp's RBI single after Joe Dugan reached second on an error and another run in the fourth on Aaron Ward's home run. The Yankees had tied the game in the eighth on doubles by Babe Ruth and Bob Meusel, but that is the way the game ended.
Game 3
Knuckleballer Jack Scott kept the Yankees off the board. In the bottom of the third with runners on second and third, Frankie Frisch's sacrifice fly and Irish Meusel's RBI single scored a run each for the Giants, who added an insurance run in the seventh on Frankie Frisch's RBI single. The game took just 1 hour, 48 minutes.
Game 4
This contest moved along even faster than Game 3. It was over in a snappy 1:41, with Giants pitcher Hugh McQuillan going the distance for a 4-3 win. The Yankees scored two runs in the first on back-to-back singles by Wally Pipp and Bob Meusel, but in the fifth after a leadoff single and double, Dave Bancroft's two-run single tied the game. After a single and groundout, Irish Meusel's groundout and Ross Youngs's RBI single scored a run each. Aaron Ward's home run in the seventh cut the Giants' lead to one, but the Yankees did not score after that.
Game 5
Art Nehf's five-hit pitching combined with a three-run eighth inning won the Series for the Giants. The Yankees scored a run in the first when Joe Dugan singled with one out, moved to second on a sacrifice bunt and scored on Wally Pipp's RBI single, but in the bottom of the second with runners on second and third, Bill Cunningham's two-run single gave the Giants the lead. The Yankees tied the game in the fifth on Bullet Joe Bush's RBI single after a walk and single, then took the lead on Everett Scott's sacrifice fly with runners on second and third. The decisive rally began with a Heinie Groh single and Frankie Frisch double. After an intentional walk to Ross Youngs, a two-run single by High Pockets Kelly put the Giants on top. The next batter, Lee King, inserted in the outfield that inning for defensive purposes, delivered an RBI single to make it 5-3, and that's how it ended.
This was the second of three consecutive matchups between the Yankees and Giants (1921–1923) marked the only time (as of 2023), that three straight World Series featured the same two clubs. Brothers Bob and Irish Meusel played against each other in each of those three series, making them the first set of brothers to play against each other on opposing teams in a World Series or any Big Four championship series.The Giants became the second NL team to win back-to-back World Series, following the Chicago Cubs in 1907–08, and remained the last until the 1975–76 Cincinnati Reds. This also remains the last World Series to be won by the Giants at home, as their championships of 1933 and 1954 (for New York) and 2010, 2012 and 2014 (for San Francisco) were all clinched as the visiting team.
Composite line score
1922 World Series (4–0–1): New York Giants (N.L.) over New York Yankees (A.L.)
Notes
References
Cohen, Richard M.; Neft, David S. (1990). The World Series: Complete Play-By-Play of Every Game, 1903–1989. New York: St. Martin's Press. pp. 93–96. ISBN 0-312-03960-3.
Reichler, Joseph (1982). The Baseball Encyclopedia (5th ed.). Macmillan Publishing. p. 2130. ISBN 0-02-579010-2.
External links
1922 World Series at WorldSeries.com via MLB.com
1922 World Series at Baseball Almanac
1922 World Series at Baseball-Reference.com
The 1922 Post-Season Games (box scores and play-by-play) at Retrosheet
History of the World Series - 1922 at The Sporting News. Archived from the original in May 2006.
|
edition number
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"19"
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The 1922 World Series was the championship series in Major League Baseball for the 1922 season. The 19th edition of the World Series, it matched the National League champion New York Giants against the American League champion New York Yankees. The Giants beat the Yankees in five games (four games to zero, with one tie) in the first Series with a permanent best-of-seven format. By now, the term "World Series" was being used frequently, as opposed to "World's Series". As with the 1921 World Series, every game was played at the Polo Grounds because it housed both teams, with the home team alternating; it was also the Yankees' final series to be played at the Polo Grounds as a home team, as they would move into the then-under construction Yankee Stadium for the following season, which ended in them winning the rematch against the Giants.
The Giants held Babe Ruth in check (he batted only .118 with just one RBI) and scored just enough runs to win each of the games outside the controversial Game 2 tie. That game was called on account of darkness, but many thought there was sufficient light to have played some more innings (the sun was still in the sky), and there were some suspicions that one or both teams might have "allowed" the tie to happen to increase the overall gate receipts. Commissioner Landis was among those who was dissatisfied with the result. One story is that Landis asked Umpire Hildebrand, "Why the Sam Hill did you call the game?" The umpire answered, "There was a temporary haze on the field." The game decision was in the hands of the umpires, but the Commissioner's Office controlled the gate receipts. Landis ordered the money, more than $120,000, turned over to World War I charities, thus nullifying any impropriety. The tied game would turn out to be the third (and final) tied game in the history of the World Series. The other two tied games occurred in 1907 and 1912. No ties are possible under later rules, which allow for suspension of a tied game and resumption of it at a later date, as with Game 5 of the 2008 World Series.
As of 2023, this is the last time the Giants have won the World Series at home, as their next five championships were all clinched on the road. This would prove to be Giants' manager John McGraw's third and final World Series win.
Summary
NL New York Giants (4) vs. AL New York Yankees (0)
Matchups
Game 1
The game and Series remained scoreless until the sixth inning. Whitey Witt tripled off of Art Nehf, then was cut down at home trying to score on a fielder's choice, but a Babe Ruth hit got the run home. The Yankees added another run next inning on Aaron Ward's sacrifice fly with runners on second and third. A three-run Giant rally in the eighth knocked out Yankee starter Bullet Joe Bush, who allowed four straight leadoff singles, the last of which to Irish Meusel scoring two. and the winning run coming off reliever Waite Hoyt on a Ross Youngs sacrifice fly.
Game 2
This was the controversial tie (see above). Pitchers Bob Shawkey and Jesse Barnes went all 10 innings. The Giants scored all three runs in the first on Irish Meusel's three-run home run after two singles. The Yankees scored a run in the first on Wally Pipp's RBI single after Joe Dugan reached second on an error and another run in the fourth on Aaron Ward's home run. The Yankees had tied the game in the eighth on doubles by Babe Ruth and Bob Meusel, but that is the way the game ended.
Game 3
Knuckleballer Jack Scott kept the Yankees off the board. In the bottom of the third with runners on second and third, Frankie Frisch's sacrifice fly and Irish Meusel's RBI single scored a run each for the Giants, who added an insurance run in the seventh on Frankie Frisch's RBI single. The game took just 1 hour, 48 minutes.
Game 4
This contest moved along even faster than Game 3. It was over in a snappy 1:41, with Giants pitcher Hugh McQuillan going the distance for a 4-3 win. The Yankees scored two runs in the first on back-to-back singles by Wally Pipp and Bob Meusel, but in the fifth after a leadoff single and double, Dave Bancroft's two-run single tied the game. After a single and groundout, Irish Meusel's groundout and Ross Youngs's RBI single scored a run each. Aaron Ward's home run in the seventh cut the Giants' lead to one, but the Yankees did not score after that.
Game 5
Art Nehf's five-hit pitching combined with a three-run eighth inning won the Series for the Giants. The Yankees scored a run in the first when Joe Dugan singled with one out, moved to second on a sacrifice bunt and scored on Wally Pipp's RBI single, but in the bottom of the second with runners on second and third, Bill Cunningham's two-run single gave the Giants the lead. The Yankees tied the game in the fifth on Bullet Joe Bush's RBI single after a walk and single, then took the lead on Everett Scott's sacrifice fly with runners on second and third. The decisive rally began with a Heinie Groh single and Frankie Frisch double. After an intentional walk to Ross Youngs, a two-run single by High Pockets Kelly put the Giants on top. The next batter, Lee King, inserted in the outfield that inning for defensive purposes, delivered an RBI single to make it 5-3, and that's how it ended.
This was the second of three consecutive matchups between the Yankees and Giants (1921–1923) marked the only time (as of 2023), that three straight World Series featured the same two clubs. Brothers Bob and Irish Meusel played against each other in each of those three series, making them the first set of brothers to play against each other on opposing teams in a World Series or any Big Four championship series.The Giants became the second NL team to win back-to-back World Series, following the Chicago Cubs in 1907–08, and remained the last until the 1975–76 Cincinnati Reds. This also remains the last World Series to be won by the Giants at home, as their championships of 1933 and 1954 (for New York) and 2010, 2012 and 2014 (for San Francisco) were all clinched as the visiting team.
Composite line score
1922 World Series (4–0–1): New York Giants (N.L.) over New York Yankees (A.L.)
Notes
References
Cohen, Richard M.; Neft, David S. (1990). The World Series: Complete Play-By-Play of Every Game, 1903–1989. New York: St. Martin's Press. pp. 93–96. ISBN 0-312-03960-3.
Reichler, Joseph (1982). The Baseball Encyclopedia (5th ed.). Macmillan Publishing. p. 2130. ISBN 0-02-579010-2.
External links
1922 World Series at WorldSeries.com via MLB.com
1922 World Series at Baseball Almanac
1922 World Series at Baseball-Reference.com
The 1922 Post-Season Games (box scores and play-by-play) at Retrosheet
History of the World Series - 1922 at The Sporting News. Archived from the original in May 2006.
|
organizer
|
{
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The 1922 World Series was the championship series in Major League Baseball for the 1922 season. The 19th edition of the World Series, it matched the National League champion New York Giants against the American League champion New York Yankees. The Giants beat the Yankees in five games (four games to zero, with one tie) in the first Series with a permanent best-of-seven format. By now, the term "World Series" was being used frequently, as opposed to "World's Series". As with the 1921 World Series, every game was played at the Polo Grounds because it housed both teams, with the home team alternating; it was also the Yankees' final series to be played at the Polo Grounds as a home team, as they would move into the then-under construction Yankee Stadium for the following season, which ended in them winning the rematch against the Giants.
The Giants held Babe Ruth in check (he batted only .118 with just one RBI) and scored just enough runs to win each of the games outside the controversial Game 2 tie. That game was called on account of darkness, but many thought there was sufficient light to have played some more innings (the sun was still in the sky), and there were some suspicions that one or both teams might have "allowed" the tie to happen to increase the overall gate receipts. Commissioner Landis was among those who was dissatisfied with the result. One story is that Landis asked Umpire Hildebrand, "Why the Sam Hill did you call the game?" The umpire answered, "There was a temporary haze on the field." The game decision was in the hands of the umpires, but the Commissioner's Office controlled the gate receipts. Landis ordered the money, more than $120,000, turned over to World War I charities, thus nullifying any impropriety. The tied game would turn out to be the third (and final) tied game in the history of the World Series. The other two tied games occurred in 1907 and 1912. No ties are possible under later rules, which allow for suspension of a tied game and resumption of it at a later date, as with Game 5 of the 2008 World Series.
As of 2023, this is the last time the Giants have won the World Series at home, as their next five championships were all clinched on the road. This would prove to be Giants' manager John McGraw's third and final World Series win.
Summary
NL New York Giants (4) vs. AL New York Yankees (0)
Matchups
Game 1
The game and Series remained scoreless until the sixth inning. Whitey Witt tripled off of Art Nehf, then was cut down at home trying to score on a fielder's choice, but a Babe Ruth hit got the run home. The Yankees added another run next inning on Aaron Ward's sacrifice fly with runners on second and third. A three-run Giant rally in the eighth knocked out Yankee starter Bullet Joe Bush, who allowed four straight leadoff singles, the last of which to Irish Meusel scoring two. and the winning run coming off reliever Waite Hoyt on a Ross Youngs sacrifice fly.
Game 2
This was the controversial tie (see above). Pitchers Bob Shawkey and Jesse Barnes went all 10 innings. The Giants scored all three runs in the first on Irish Meusel's three-run home run after two singles. The Yankees scored a run in the first on Wally Pipp's RBI single after Joe Dugan reached second on an error and another run in the fourth on Aaron Ward's home run. The Yankees had tied the game in the eighth on doubles by Babe Ruth and Bob Meusel, but that is the way the game ended.
Game 3
Knuckleballer Jack Scott kept the Yankees off the board. In the bottom of the third with runners on second and third, Frankie Frisch's sacrifice fly and Irish Meusel's RBI single scored a run each for the Giants, who added an insurance run in the seventh on Frankie Frisch's RBI single. The game took just 1 hour, 48 minutes.
Game 4
This contest moved along even faster than Game 3. It was over in a snappy 1:41, with Giants pitcher Hugh McQuillan going the distance for a 4-3 win. The Yankees scored two runs in the first on back-to-back singles by Wally Pipp and Bob Meusel, but in the fifth after a leadoff single and double, Dave Bancroft's two-run single tied the game. After a single and groundout, Irish Meusel's groundout and Ross Youngs's RBI single scored a run each. Aaron Ward's home run in the seventh cut the Giants' lead to one, but the Yankees did not score after that.
Game 5
Art Nehf's five-hit pitching combined with a three-run eighth inning won the Series for the Giants. The Yankees scored a run in the first when Joe Dugan singled with one out, moved to second on a sacrifice bunt and scored on Wally Pipp's RBI single, but in the bottom of the second with runners on second and third, Bill Cunningham's two-run single gave the Giants the lead. The Yankees tied the game in the fifth on Bullet Joe Bush's RBI single after a walk and single, then took the lead on Everett Scott's sacrifice fly with runners on second and third. The decisive rally began with a Heinie Groh single and Frankie Frisch double. After an intentional walk to Ross Youngs, a two-run single by High Pockets Kelly put the Giants on top. The next batter, Lee King, inserted in the outfield that inning for defensive purposes, delivered an RBI single to make it 5-3, and that's how it ended.
This was the second of three consecutive matchups between the Yankees and Giants (1921–1923) marked the only time (as of 2023), that three straight World Series featured the same two clubs. Brothers Bob and Irish Meusel played against each other in each of those three series, making them the first set of brothers to play against each other on opposing teams in a World Series or any Big Four championship series.The Giants became the second NL team to win back-to-back World Series, following the Chicago Cubs in 1907–08, and remained the last until the 1975–76 Cincinnati Reds. This also remains the last World Series to be won by the Giants at home, as their championships of 1933 and 1954 (for New York) and 2010, 2012 and 2014 (for San Francisco) were all clinched as the visiting team.
Composite line score
1922 World Series (4–0–1): New York Giants (N.L.) over New York Yankees (A.L.)
Notes
References
Cohen, Richard M.; Neft, David S. (1990). The World Series: Complete Play-By-Play of Every Game, 1903–1989. New York: St. Martin's Press. pp. 93–96. ISBN 0-312-03960-3.
Reichler, Joseph (1982). The Baseball Encyclopedia (5th ed.). Macmillan Publishing. p. 2130. ISBN 0-02-579010-2.
External links
1922 World Series at WorldSeries.com via MLB.com
1922 World Series at Baseball Almanac
1922 World Series at Baseball-Reference.com
The 1922 Post-Season Games (box scores and play-by-play) at Retrosheet
History of the World Series - 1922 at The Sporting News. Archived from the original in May 2006.
|
winner
|
{
"answer_start": [
174
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"text": [
"New York Giants"
]
}
|
The 1922 World Series was the championship series in Major League Baseball for the 1922 season. The 19th edition of the World Series, it matched the National League champion New York Giants against the American League champion New York Yankees. The Giants beat the Yankees in five games (four games to zero, with one tie) in the first Series with a permanent best-of-seven format. By now, the term "World Series" was being used frequently, as opposed to "World's Series". As with the 1921 World Series, every game was played at the Polo Grounds because it housed both teams, with the home team alternating; it was also the Yankees' final series to be played at the Polo Grounds as a home team, as they would move into the then-under construction Yankee Stadium for the following season, which ended in them winning the rematch against the Giants.
The Giants held Babe Ruth in check (he batted only .118 with just one RBI) and scored just enough runs to win each of the games outside the controversial Game 2 tie. That game was called on account of darkness, but many thought there was sufficient light to have played some more innings (the sun was still in the sky), and there were some suspicions that one or both teams might have "allowed" the tie to happen to increase the overall gate receipts. Commissioner Landis was among those who was dissatisfied with the result. One story is that Landis asked Umpire Hildebrand, "Why the Sam Hill did you call the game?" The umpire answered, "There was a temporary haze on the field." The game decision was in the hands of the umpires, but the Commissioner's Office controlled the gate receipts. Landis ordered the money, more than $120,000, turned over to World War I charities, thus nullifying any impropriety. The tied game would turn out to be the third (and final) tied game in the history of the World Series. The other two tied games occurred in 1907 and 1912. No ties are possible under later rules, which allow for suspension of a tied game and resumption of it at a later date, as with Game 5 of the 2008 World Series.
As of 2023, this is the last time the Giants have won the World Series at home, as their next five championships were all clinched on the road. This would prove to be Giants' manager John McGraw's third and final World Series win.
Summary
NL New York Giants (4) vs. AL New York Yankees (0)
Matchups
Game 1
The game and Series remained scoreless until the sixth inning. Whitey Witt tripled off of Art Nehf, then was cut down at home trying to score on a fielder's choice, but a Babe Ruth hit got the run home. The Yankees added another run next inning on Aaron Ward's sacrifice fly with runners on second and third. A three-run Giant rally in the eighth knocked out Yankee starter Bullet Joe Bush, who allowed four straight leadoff singles, the last of which to Irish Meusel scoring two. and the winning run coming off reliever Waite Hoyt on a Ross Youngs sacrifice fly.
Game 2
This was the controversial tie (see above). Pitchers Bob Shawkey and Jesse Barnes went all 10 innings. The Giants scored all three runs in the first on Irish Meusel's three-run home run after two singles. The Yankees scored a run in the first on Wally Pipp's RBI single after Joe Dugan reached second on an error and another run in the fourth on Aaron Ward's home run. The Yankees had tied the game in the eighth on doubles by Babe Ruth and Bob Meusel, but that is the way the game ended.
Game 3
Knuckleballer Jack Scott kept the Yankees off the board. In the bottom of the third with runners on second and third, Frankie Frisch's sacrifice fly and Irish Meusel's RBI single scored a run each for the Giants, who added an insurance run in the seventh on Frankie Frisch's RBI single. The game took just 1 hour, 48 minutes.
Game 4
This contest moved along even faster than Game 3. It was over in a snappy 1:41, with Giants pitcher Hugh McQuillan going the distance for a 4-3 win. The Yankees scored two runs in the first on back-to-back singles by Wally Pipp and Bob Meusel, but in the fifth after a leadoff single and double, Dave Bancroft's two-run single tied the game. After a single and groundout, Irish Meusel's groundout and Ross Youngs's RBI single scored a run each. Aaron Ward's home run in the seventh cut the Giants' lead to one, but the Yankees did not score after that.
Game 5
Art Nehf's five-hit pitching combined with a three-run eighth inning won the Series for the Giants. The Yankees scored a run in the first when Joe Dugan singled with one out, moved to second on a sacrifice bunt and scored on Wally Pipp's RBI single, but in the bottom of the second with runners on second and third, Bill Cunningham's two-run single gave the Giants the lead. The Yankees tied the game in the fifth on Bullet Joe Bush's RBI single after a walk and single, then took the lead on Everett Scott's sacrifice fly with runners on second and third. The decisive rally began with a Heinie Groh single and Frankie Frisch double. After an intentional walk to Ross Youngs, a two-run single by High Pockets Kelly put the Giants on top. The next batter, Lee King, inserted in the outfield that inning for defensive purposes, delivered an RBI single to make it 5-3, and that's how it ended.
This was the second of three consecutive matchups between the Yankees and Giants (1921–1923) marked the only time (as of 2023), that three straight World Series featured the same two clubs. Brothers Bob and Irish Meusel played against each other in each of those three series, making them the first set of brothers to play against each other on opposing teams in a World Series or any Big Four championship series.The Giants became the second NL team to win back-to-back World Series, following the Chicago Cubs in 1907–08, and remained the last until the 1975–76 Cincinnati Reds. This also remains the last World Series to be won by the Giants at home, as their championships of 1933 and 1954 (for New York) and 2010, 2012 and 2014 (for San Francisco) were all clinched as the visiting team.
Composite line score
1922 World Series (4–0–1): New York Giants (N.L.) over New York Yankees (A.L.)
Notes
References
Cohen, Richard M.; Neft, David S. (1990). The World Series: Complete Play-By-Play of Every Game, 1903–1989. New York: St. Martin's Press. pp. 93–96. ISBN 0-312-03960-3.
Reichler, Joseph (1982). The Baseball Encyclopedia (5th ed.). Macmillan Publishing. p. 2130. ISBN 0-02-579010-2.
External links
1922 World Series at WorldSeries.com via MLB.com
1922 World Series at Baseball Almanac
1922 World Series at Baseball-Reference.com
The 1922 Post-Season Games (box scores and play-by-play) at Retrosheet
History of the World Series - 1922 at The Sporting News. Archived from the original in May 2006.
|
sports season of league or competition
|
{
"answer_start": [
9
],
"text": [
"World Series"
]
}
|
Grays Consolidated High School was a historic high school located at Grays, Jasper County, South Carolina. It was built in 1927 and rebuilt in 1931. It consisted of three projecting pavilions, with the central pavilion featuring decorative rafter tails, knee braces, and a two-part limestone inlaid plaque. Flanking this were projecting pavilions with hipped roofs. In 1931, the building was expanded with a large classroom wing extension and rear ell. Also on the property is a contributing outbuilding - a brick boiler room/storage room.The building was added to the National Register of Historic Places in 2007. The school was demolished in March 2013, and was removed from the National Register in 2016.
== References ==
|
instance of
|
{
"answer_start": [
46
],
"text": [
"high school"
]
}
|
Grays Consolidated High School was a historic high school located at Grays, Jasper County, South Carolina. It was built in 1927 and rebuilt in 1931. It consisted of three projecting pavilions, with the central pavilion featuring decorative rafter tails, knee braces, and a two-part limestone inlaid plaque. Flanking this were projecting pavilions with hipped roofs. In 1931, the building was expanded with a large classroom wing extension and rear ell. Also on the property is a contributing outbuilding - a brick boiler room/storage room.The building was added to the National Register of Historic Places in 2007. The school was demolished in March 2013, and was removed from the National Register in 2016.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
91
],
"text": [
"South Carolina"
]
}
|
The Lugo Adobe also called the Vicente Lugo Adobe or Casa de Don Vicente Lugo was a house in the city of Los Angeles, located on the east side of the Los Angeles Plaza at 512–524 N. Los Angeles Street.Don Vicente Lugo of the prominent Lugo family of California built the home in what is now called the El Pueblo de Los Ángeles Historical Monument in the 1840s. The Lugo Adobe was designated a California Historic Landmark (No. 301) on July 12, 1939. Lugo Adobe was one of the very few two-story homes in the Pueblo of Los Angeles. In 1867 Don Vicente Lugo donated the Adobe to St. Vincent's School, that later became Loyola Marymount University. St. Vincent's School used the building for two years before moving the School. The building became part of what is now called Old Chinatown, Los Angeles. When Old Chinatown became run down, Los Angeles put into place a redevelopment plan. The California Historic Landmark given to the Lugo Adobe did not save the Adobe from redevelopment. The Lugo Adobe was demolished in 1951, despite significant efforts to save it.The site of the former Lugo Adobe is now Father Junípero Serra Park on the east side of the Los Angeles Plaza and the east side of N. Los Angeles Street, just west of Union Station and just east of the southern end of Olvera Street.
Gallery
Vicente Lugo biography
Don Vicente Lugo was born on April 5, 1822. He was the son of Don Antonio Maria De Lugo and Maria Delores Dominga Ruiz Lugo. He married Maria Andrea del Carmen Ballesteros. He had two children: Belen Lugo and Blas Angel Lugo. He died on February 25, 1890. Don Antonio Maria De Lugo was the owner of large land grants in Southern California.
His brother was José del Carmen Lugo.
José del Carmen Lugo, in a joint venture with his brothers José María and Don Vicente Lugo and cousin Diego Sepúlveda, began colonizing the San Bernardino Valley and adjacent Yucaipa Valley. The land covered more than 250,000 acres (1,012 km2) in the present day Inland Empire. Their colony charter was approved by the Mexican government in 1839. The valley was plagued by robberies and frequent raids by California Indians resisting loss of their homeland. Many would-be colonizers would stay for only short periods of time. The Lugo families became strong allies with the Mountain Band of Cahuilla Indians led by Chief Juan Antonio.Harris Newmark remarked of Don Vicente that "the Beau Brummel of Los Angeles" in the early 1850s was "Don Vicente Lugo, whose wardrobe was made up exclusively of the fanciest patterns of Mexican type; his home, one of the few two-story houses in the pueblo, was close to Ygnacio del Valle's. Lugo, a brother of Don José María, was one of the heavy taxpayers of his time; as late as 1860, he had herds of twenty-five hundred head of cattle, or half a thousand more than Pío and Andrés Pico together owned. María Ballestero, Lugo's mother-in-law, lived near him.".
Marker
Marker on the site reads:
NO. 301 LUGO ADOBE (SITE OF) - The Lugo Adobe, said to have been built in the 1840s by Don Vicente Lugo, was one of the very few two-story houses in the pueblo of Los Angeles. In 1867, Lugo donated this house on the Plaza to St. Vincent's School (forerunner of Loyola University). From the 1880s until it was razed in 1951, the building was occupied by the Chinese."
See also
California Historical Landmarks in Los Angeles County
== References ==
|
California Office of Historic Preservation ID
|
{
"answer_start": [
427
],
"text": [
"301"
]
}
|
Francis Arnold Hoffmann (June 5, 1822 – January 23, 1903) was a Lutheran clergyman, politician, banker and writer.
He was born in Westphalia, Prussia, the son of Fredrick and Wilhelmina (Groppe) Hoffmann. In 1840 he emigrated to the United States to avoid conscription, and settled in Illinois.
Hoffmann was a teacher and a pastor in Dunklee's Grove (now Addison, Illinois) until 1847. During this time he became active in public affairs and served as postmaster, town clerk and member of the school board. He also began writing and contributed articles to the Chicago Democrat and Prairie Farmer. In 1844 he married Cynthia Gilbert.
He served as pastor and teacher at St. Peter Lutheran Church and School in Schaumburg from 1847 to 1851. In 1851 Hoffmann moved to Chicago, studied law and became an attorney. In 1852 he was elected to the city council. Hoffmann worked to attract German immigrants to Chicago and was able to establish a successful banking business using the money entrusted to him by the German community.
Hoffmann was a vigorous opponent of the extension of slavery, an issue brought into prominence by the Kansas-Nebraska Act of 1854. He left the Democratic Party and played a role in the election of Lyman Trumbull to the United States Senate. He helped to found the Republican Party in Illinois and was a political supporter and ally of Abraham Lincoln. He was elected the 15th Lieutenant Governor of Illinois and served from 1861 to 1865.
After the Civil War, Hoffmann worked for the Illinois Central Railroad as a land commissioner and established the International Bank (his first bank had failed during the war). After the Great Chicago Fire in 1871 he chaired a committee of city bankers whose efforts successfully avoided a banking panic.
In 1875, he retired to his estate in Jefferson, Wisconsin and devoted himself to farming and horticulture. As an agricultural writer and editor, he wrote using the pen name "Hans Buschbauer".
References
Lacher, J. H. A. "Francis A. Hoffmann of Illinois and Hans Buschbauer of Wisconsin" Wisconsin Magazine Of History. Volume: 13 /Issue: 4 (1929-1930)
"Francis Arnold Hoffmann." Dictionary of American Biography Base Set. American Council of Learned Societies, 1928-1936.
Don Heinrich Tolzmann, ed., Illinois' German Heritage. Milford, Ohio: Little Miami Publishing Company, 2005.
|
place of death
|
{
"answer_start": [
1805
],
"text": [
"Jefferson"
]
}
|
Francis Arnold Hoffmann (June 5, 1822 – January 23, 1903) was a Lutheran clergyman, politician, banker and writer.
He was born in Westphalia, Prussia, the son of Fredrick and Wilhelmina (Groppe) Hoffmann. In 1840 he emigrated to the United States to avoid conscription, and settled in Illinois.
Hoffmann was a teacher and a pastor in Dunklee's Grove (now Addison, Illinois) until 1847. During this time he became active in public affairs and served as postmaster, town clerk and member of the school board. He also began writing and contributed articles to the Chicago Democrat and Prairie Farmer. In 1844 he married Cynthia Gilbert.
He served as pastor and teacher at St. Peter Lutheran Church and School in Schaumburg from 1847 to 1851. In 1851 Hoffmann moved to Chicago, studied law and became an attorney. In 1852 he was elected to the city council. Hoffmann worked to attract German immigrants to Chicago and was able to establish a successful banking business using the money entrusted to him by the German community.
Hoffmann was a vigorous opponent of the extension of slavery, an issue brought into prominence by the Kansas-Nebraska Act of 1854. He left the Democratic Party and played a role in the election of Lyman Trumbull to the United States Senate. He helped to found the Republican Party in Illinois and was a political supporter and ally of Abraham Lincoln. He was elected the 15th Lieutenant Governor of Illinois and served from 1861 to 1865.
After the Civil War, Hoffmann worked for the Illinois Central Railroad as a land commissioner and established the International Bank (his first bank had failed during the war). After the Great Chicago Fire in 1871 he chaired a committee of city bankers whose efforts successfully avoided a banking panic.
In 1875, he retired to his estate in Jefferson, Wisconsin and devoted himself to farming and horticulture. As an agricultural writer and editor, he wrote using the pen name "Hans Buschbauer".
References
Lacher, J. H. A. "Francis A. Hoffmann of Illinois and Hans Buschbauer of Wisconsin" Wisconsin Magazine Of History. Volume: 13 /Issue: 4 (1929-1930)
"Francis Arnold Hoffmann." Dictionary of American Biography Base Set. American Council of Learned Societies, 1928-1936.
Don Heinrich Tolzmann, ed., Illinois' German Heritage. Milford, Ohio: Little Miami Publishing Company, 2005.
|
position held
|
{
"answer_start": [
1401
],
"text": [
"Lieutenant Governor of Illinois"
]
}
|
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