Sound recording
1 sound disc (59 min.) : digital ; 4 3/4 in. + 1 book (64 p. ; 18 cm.)
Robert Frost reads from a selection of his own poetry.
Media & Microtext Center
Book
xxi, 743 p. illus 24 cm.
Green Library, SAL3 (off-campus storage)
Book
[1]-191 [1]p. illus., ports. 17.2 cm.
SAL3 (off-campus storage)
Book
xiii, 295 p. 24 cm.
Green Library
Book
[6] p. : facsim. ; 23 cm.
Special Collections
Book
xii, 188 p. 24cm.
Green Library
Book
viii, 104 p. : facsims. ; 25 cm.
SAL3 (off-campus storage)
Book
128 p. : ill. ; 23 cm.
These core conversations between Peter Stanlis and Robert Frost occurred during 1939-1941. They are written in the much larger context of nearly a quarter century of friendship that ended only with the passing of Frost in 1963. These discussions provide a unique window of opportunity to appreciate the sources of Frost's philosophical visions, as well as his poetic interests. The discussions between Stanlis and Frost were held between six consecutive summers (1939-1944), when Stanlis was a student at the Bread Loaf Graduate School of English. These were augmented by additional exchanges at Bread Loaf in 1961-1962. These conversations provide original insights on important subjects common to both men. Frost insisted that it was impossible to make a complete or final unity out of the conflicts between spirit and matter. Ordinary empirical experience and rational discursive reason and logic could not harmonize basic conflicts. He held that the best method to ameliorate apparent contradictions in dualistic conflicts was through the 'play' of metaphorical thinking and feeling. Metaphors included parables, allegories, fables, images, symbols, irony, and the forms and techniques of poetry such as rhyme, rhythm, assonance, dissonance, personifications, and connotations. These are the arsenal from which poets draw their insightful metaphors, but such metaphors are also the common property of every normal person. A poem is 'a momentary stay against confusion', a form of revelation for 'a clarification of life', but not a final, absolute answer to the mysteries and complexities in man's life on Earth. So too - at their best - are science, religion, philosophy, education, politics, and scholarship as a means of ameliorating human problems.
(source: Nielsen Book Data)9781412810715 20160528
Green Library
Music recording
2s. 12in. 33.3rpm.
SAL3 (off-campus storage)
Book
volumes : illustrations ; 24 cm
  • v. 1. 1886-1920.
  • Volume 1. 1886-1920. Introduction
  • The Early Years (September 1886-July 1912)
  • "England in the Grip of Frost" (Beaconsfield, September 1912-March 1914)
  • "This Quiet Corner of a Quiet Country" (Gloucestershire, May 1914-February 1915)
  • Making It in America (February 1915-December 1917)
  • Amherst (January 1917-February 1920)
  • Biographical Glossary of Correspondents
  • Chronology: 1874-February 1920.
One of the acknowledged giants of twentieth-century American literature, Robert Frost was a public figure much celebrated in his day. Although his poetry reached a wide audience, the private Frost--pensive, mercurial, and often very funny--remains less appreciated. Following upon the publication of Frost's notebooks and collected prose, "The Letters of Robert Frost" is the first major edition of the poet's written correspondence. The hundreds of previously unpublished letters in these annotated volumes deepen our understanding and appreciation of this most complex and subtle of verbal artists. Volume One traverses the years of Frost's earliest poems to the acclaimed collections "North of Boston "and "Mountain Interval "that cemented his reputation as one of the leading lights of his era. The drama of his personal life--as well as the growth of the audacious mind that produced his poetry--unfolds before us in Frost's day-to-day missives. These rhetorical performances are at once revealing and tantalizingly evasive about relationships with family and close friends, including the poet Edward Thomas. We listen in as Frost defines himself against contemporaries Ezra Pound and William Butler Yeats, and we witness the evolution of his thoughts about prosody, sound, style, and other aspects of poetic craft. In its literary interest and sheer display of personality, Frost's correspondence is on a par with the letters of Emily Dickinson, Robert Lowell, and Samuel Beckett. "The Letters of Robert Frost" holds hours of pleasurable reading for lovers of Frost and modern American poetry.
(source: Nielsen Book Data)9780674057609 20160612
Green Library
Book
xxxii, 809 p. : ill. ; 24 cm.
  • 1890-1950 : Hunter James
  • 1903 : The hermits
  • 1903-1910 : All these different psycological experiments
  • 1909-1950 : If I had prayed every day what you prayed I don't see how I could help calling myself a Utopian
  • 1910-1955 : Submission to the law of the machine
  • 1910 : Bring all under the influence of the great books as under a spell
  • 1911 : She's-- writer I guess you'd call it, wants to go on the stage
  • 1912-1915 : A place apart
  • 1913-1917 : beggars in England
  • 1916-1918 : All my thoughts of every thing
  • 1916-1919 : Two poets
  • 1918-1921 : A time when nothing, neither religion nor patriotism comes to an apex
  • 1919 : The copperhead
  • 1920-1930 : The furthest two things can be away from each other
  • 1923-1924 : Learn lives of poet
  • 1924 : I don't see what you have to complain of
  • 1924-1925 : You and I
  • 1926-1928 : Difference between meter and rhythm
  • 1928 : I learned to laugh when I was young
  • 1929 : These are not monologues but my part in a conversation
  • 1930-1940 : Thick skinned thick headed
  • 1930-1940 : Tru humility is a kind of carelessness
  • 1935-1951 : True humility again lies in suffering
  • 1935 : Curiously enough - as a connection
  • 1935 : America and the plot
  • 1935 : Since surely good is evil's better helf
  • 1936 : The question for the original
  • 1936-1939 : Having learned to read
  • 1937-1942 : Democracy
  • 1937 : Alci that Socratic boy
  • 1937-1955 : Three of those evils parsed in half an hour
  • 1940-1950: Leila. What have brough him into the house for?
  • 1940 : Prophetic
  • 1950 : What is your attitude toward our having robbed the indians of the American continent?
  • 1951-1952: Pertinax
  • 1950-1955 : And it would satisfy something in him
  • 1950-1955 : If his own intuitions were correct
  • 1950-1951 : There is a shadow alway on success
  • 1950-1962 : If we are too much given to reflect
  • 1950-1962 : I wont be talked to by a woman, tell her
  • 1960-1962 : Dedication of the Gift outright
  • Undated: One favored acorn
  • Undated : First answerability divine right
  • Undated : Last refinement of subject matter
  • Undated : Sentences may have the greatest monotony to the eye
  • Undated : Many speak as if it was a reproach to the puritans
  • Undated loose notebook pages : All thoughts all passions all delights
  • Undated : Nothing more composing than composition.
Robert Frost is one of the most widely read, well loved, and misunderstood of modern writers. In his day, he was also an inveterate note-taker, penning thousands of intense aphoristic thoughts, observations, and meditations in small pocket pads and school theme books throughout his life. These notebooks, transcribed and presented here in their entirety for the first time, offer unprecedented insight into Frost's complex and often highly contradictory thinking about poetics, politics, education, psychology, science, and religion - his attitude toward Marxism, the New Deal, World War - as well as Yeats, Pound, Santayana, and William James. Covering a period from the late 1890s to early 1960s, the notebooks reveal the full range of the mind of one of America's greatest poets. Their depth and complexity convey the restless and probing quality of his thought, and show how the unruliness of chaotic modernity was always just beneath his appearance of supreme poetic control. Edited by pre-eminent Frost scholar Robert Faggen and annotated to help readers with the poet's more elusive references, the notebooks are also thoroughly cross-referenced, marking thematic connections within these and Frost's other writings, including his poetry, letters, and other prose. This is a major new addition to the canon of Robert Frost's writings. This is the first volume in a series of complete works by Robert Frost.
(source: Nielsen Book Data)9780674023116 20160528
Green Library
Book
xvi, 392 p. ; 25 cm.
Widely revered during his lifetime, Robert Frost continues to enchant readers today, nearly a century after the publication of his first volume of poems, A Boy's Will. This book presents a splendid selection of sixty-five poems from across Frost's writing career, beginning in the 1890s and ending with "Directive" from the 1940s. Tim Kendall offers a detailed account of each poem, enabling readers to follow the journey which Frost himself recognized in all great poetry: "It begins in delight and ends in wisdom." In addition to close readings of the poems, The Art of Robert Frost traces the development of Frost's writing career and relevant aspects of his life. The book also assesses the particular nature of the poet's style, how it changes over time, and how it relates to the works of contemporary poets and movements, including Modernism. The first book on Frost to combine selected poems with a critical study, this appealing volume will be welcome on the shelves of scholars, students, and all other readers who love fine poetry.
(source: Nielsen Book Data)9780300118131 20160608
Green Library
Book
504 p.
Green Library
Music recording
2s. 12in. 33.3rpm.
SAL3 (off-campus storage)
Book
221 p. 21 cm.
Special Collections
Book
[7] 5-349 p. front. (port.) 23 cm.
SAL3 (off-campus storage)
Book
xiv, 480 p. 22 cm.
Green Library, SAL3 (off-campus storage)
Book
xx, 607 p., port. 22 cm.
Green Library
Book
5 p.l., 349 p. port. 23 cm.
SAL3 (off-campus storage), Special Collections
Book
xxi, 666 p. front. 22 cm.
Special Collections

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