But in this case, the foreignness is probably also combined with the feeling that I'm reading this volume more out of a duty to lessen my ignorance than anything else. Oh sure, I grew up hearing my mom randomly break into recitations of "The Pasture" and "The Road Not Taken," and by now, the line from "Mending Wall," "Good fences make good neighbors," has found its way into at least a portion of the aphorism-quoting public. But I never really went any deeper than that, and any time I'd hear some MFA student blow off Frost with an eye-roll and a dismissive wave of the hand, I didn't even know enough about his work to take up any sort of position vis-à-vis this posturing.
Photo from Wikimedia Commons. |
I'm finding that in general, then, it's not the poems so much that are sentimental, but a habitual willingness to see them as such-- in this instance, evidenced in Louis Untermeyer's commentary, which, in spite of its apparent protestations to the contrary, seems all too ready to give three cheers for a mythologized New England stolidity and its good old characters we love to talk about but really treat, from the height of our literary sophistication, in a bemused and slightly patronizing fashion. (This particular commentary also seems to be a product of its time.) It may or may not make any sense for me to speculate that Untermeyer probabaly loved Sarah Orne Jewett's stuff, but that's a question for another time, and for someone who knows much more about the man and his work than I do.
At any rate, I'm involved enough to see this book through to the end, but don't expect me to reach that point any time soon. And in case you're wondering, the next time someone gives a quick dismissal of this poet, I'll be willing to step in and offer a few rounds of "Yes, but..."
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