Iris Barry - Impressions & Studies

Iris Barry - Impressions & StudiesPublic Domain Poets #8 | Publicdomainpoets.comContaining almost all of Iris Barry's published poetry from the 1910s and 20s never before anthologised. New edition designed edited and selected by Dick Whyte.At night my mother sits uncorsetedAnd with tired gestures combs her long hair.Her head shines in the gaslightAnd she yawns dropping many hair-pinsAs she goes upstairs.Iris Barry (1895-1969) was born in Birmingham England and studied at the Ursulines convent in Belgium. Barry began writing and publishing poetry as early as 1914 already in the 'free verse' style. Ezra Pound read her work in Poetry in 1916 and offered to publish some of her poems and in 1917 she moved to London to study with Pound. Once there Barry attended Imagist gatherings - attended by H.D. Richard Aldington T.S. Elliot (et al.) - and regularly published poetry between 1916 and 1924.At nightNeither joy ambition love nor wantIn my heart.But the leaves calledAnd the earth calledAnd there was only waitingAgainst the coming of rainAnd the whipping of hairAbout my head.Barry also wrote a novel Splashing into Society in 1923; and wrote film criticism for The Spectator and The Daily Mail around the same time. After 1925 Barry stopped writing poetry and focussed solely on film criticism. She would go on to co-found the Film Society of London with Ivor Montagu in 1925 and write one of the early classics of English-language film theory Let's Go To The Movies in 1926; becoming one of the most widely read film critics of the 1920s. Barry moved to America in 1930 and founded the film department at the newly opened Museum of Modern Art in New York and worked as a book reviewer for the New York Times.Through the day meeklyI am my mother's child.Through the night riotouslyI ride great horses . . .Public Domain Press is dedicated to producing contemporary editions of out-of-print poets and poetry collections particularly with regard to compressed and fragmented 'free verse' from the late-1800s and early-1900s. All poems start as facsimiles - to preserve the original fonts - which are then cleaned up edited for consistency and spaciously laid-out adorned with borders illustrations and ornaments from the books and magazines they originally appeared in. These are not reprints of previously existing books but newly crafted collection lovingly edited from public domain material for the serious poetry lover.