24 August 2005

Emily Sparks

Where is my boy, my boy--
In what far part of the world?
The boy I loved best of all in the school?--
I, the teacher, the old maid, the virgin heart,
Who made them all my children.
Did I know my boy aright,
Thinking of him as spirit aflame,
Active, ever aspiring?
Oh, boy, boy, for whom I prayed and prayed
In many a watchful hour at night,
Do you remember the letter I wrote you
Of the beautiful love of Christ?
And whether you ever took it or not,
My boy, wherever you are,
Work for your soul’s sake,
That all the clay of you, all of the dross of you,
May yield to the fire of you,
Till the fire is nothing but light!...
Nothing but light!

~ Edgar Lee Masters, born yesterday in 1868

Ernest Earnest in "Spoon River Revisited":
Of course what made Spoon River Anthology immediately popular was the shock of recognition. Here for the first time in America was the whole of a society which people recognized - not only that part of it reflected in writers of the genteel tradition. Like Chaucer's pilgrims, the 244 characters who speak their epitaphs represent almost every walk of life--from Daisy Frazer, the town prostitute, to Hortense Robbins, who had travelled everywhere, rented a house in Paris and entertained nobility; or from Chase Henry, the town drunkard, to Perry Zoll, the prominent scientist, or William R Herndon, the law partner of Abraham Lincoln. The variety is far too great for even a partial list. There are scoundrels, lechers, idealists, scientists, politicians, village doctors, atheists and believers, frustrated women and fulfilled women. The individual epitaphs take on added meaning because of often complex interrelationships among the characters. Spoon River is a community, a microcosm, not a collection of individuals.

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