Hymen Hardcover – May 23, 2010

Hilda Doolittle may have been born in a small town in America, but after permanently relocating to England, Hilda Doolittle then encountered some of the most trying times in her life. Many of the obstacles that Doolittle experienced in her new European lifestyle led to some of her greatest works of poetry. Quite a few of these works were images of Greece, and this was due to Doolittle’s obsession with all things Greek. Doolittle was no stranger to new relationships, as she was said to have had numerous lovers who were both male and female. Hilda Doolittle once described herself as being an imagist poet, which means that her works contained great detail, and the amount of detail in Doolittle’s poems is quite apparent. “The Islands” screams everything Greek and everything love. The first part of the poem makes it obvious that “The Islands” refers to Greece. “What are the islands to me, what is Greece, what is Rhodes, Samos, Chios, what is Paros facing west…” As Doolittle starts off her poem by naming the Greek islands and other parts of Greece, we later see in the second part of her poem that she expresses a great love for Greece. “What can love of land give me to me that you have not, what can love of strife break in me that you have not?” Doolittle is demanding some sense of fulfillment, and perhaps it is due to a failed relationship. The poems that follows “The Islands” is “Not Honey.” I discovered the overall meaning towards the end of the poem, but with some hints towards the beginning. “Not honey, not the plunder of the bee from meadow or san-flower or mountain bush…” These lines at the beginning of the poem inform the reader that what Doolittle is going to write about is not going to resemble the sweetness of honey. Instead, Doolittle seems to be writing about a memory that stings. “Not iris-old desire-old passion-old forgetfulness-old pain…” A more descriptive example of the pain that Doolittle is trying to communicate to her reader does not appear until the last few lines. “But heat, more passionate of bone and the white shell and fiery tempered steel.” I find it admirable that Doolittle uses the characteristics that the earth elements possess, such as shell and fire. This is a way for her readers to truly envision her feelings in her poem, “Not Honey.” “Evadne” proves to be another example of Doolittle’s claim in being an imagist, and once again, Doolittle incorporates Greek terms into her poem. The first and most obvious example of Greek mythology in “Evadne” was clearly the name. The word “Evadne” referred to the name of a Greek mythology daughter who belonged to Poseidon and Pitane. “I first tasted under Apollo’s lips…” Doolittle has centered her poem around Apollo. Apollo was a significant figure in Greek mythology. The poem is written in a sexual nature, as Doolittle works her magic and paints intimate moments in “Evadne.” “Between my chin and throat his mouth slipped over and over…” This truly is a woman’s poem, because it describes the feeling of being awed by a man. “She Contrasts With Herself Hippolyta” is a poem that also refers to greek gods. Hippolyta was the famous Amazon queen in Greek mythology. “What did she think when all her strength was twisted for his bearing; did it break…” Doolittle may be describing a time when she felt vulnerable, and maybe this feeling was due to being in love. “Love that I bear within my breast how is my armour melted… You have the power…” I think the emotions in these lines are pretty clear. The pain of a past relationship appears to be the theory in this poem. I thoroughly enjoyed reading Dolittle’s poems, because the details and imagery are astounding. Sadly I am not partial to Greek mythology, but I enjoyed how Doolittle used Greek mythology figures in some of her poems. Hilda Doolittle is not my favorite female poet, but I find her imagery style and European inspiration to be entertaining.

I have read some of Hilda Doolittle's more brief and simple poems and find them to be elegant and beautiful. I can see that same talent within this work, but I am afraid it is too sophisticated for me.I am currently rereading "The Foutainhead" by Ayn Rand. Poetry such as this work by H. D. always puts me in mind of the architecture of Howard Roark and I am some version of either Ellsworth Toohey or Peter Keatng. Somehow I feel the need to apologize.I know that Hilda Doolittle was associated with Ezra Pound. Try as I might, I cannot understand Ezra Pound's work either. Not all of Hilda Doolittle's poetry reminds me of Ezra Pound. This work does. Maybe someday I will grow into works such as this, but not yet. Thank You...

I do like H.D., but not this collection. The writing is derivative of Keats and the Romantics at their gushingest. The classical references and dramatic monologues of mythical figures do nothing new. And every poet should be allowed only one "ah" and one "O" in their careers. H.D. uses up a century's worth here.

Hilda Doolittle is one of my most favorite poets and this early volume is among her very best.

reading references to HD & her role as a writer it was good to actually read what she had written -

Perfect

Amazon, you should not make me type a certain number of words for feedback. In fact, the stars themselves should be enough. Especially for Kindle book purchases.