The foreword to American Poetry, 1922: A Miscellany explicitly frames the collection as an American companion to the British Georgian Poetry anthologies, but with a crucial difference: this volume has no editor. The poets—twelve in number, including Robert Frost, H.D., Edna St. Vincent Millay, and Carl Sandburg—selected themselves by mutual accord, each contributing recent work without the mediation of a single tastemaker. The foreword insists the book is not a compendium of contemporary verse, nor does it promote any particular school or theme. Instead, it presents a deliberately diverse array of temperaments and subjects, as if a dozen unacademic painters were to exhibit their latest work every two years.

A Deliberately Editorless Anthology

The foreword addresses the skepticism that greeted the first Miscellany in 1920. Readers and reviewers found it preposterous that a collection could lack an editor; they searched for a unifying principle—Nature, Love, Patriotism, Propaganda, Philosophy—and found none. The publisher’s note had stated only that the Miscellany would be biennial. Now, with the second volume, the contributors offer a fuller explanation: the book is imitative of Georgian Poetry but distinct in its refusal to represent any single editor’s reaction to the poetry of the day. Each poet stands as “the exponent of fresh and strikingly diverse qualities in our native poetry.” The foreword’s tone is defensive yet principled, arguing that the absence of an editor is not a flaw but a deliberate choice to let the poets speak for themselves.

Voices of Conflict and Self-Examination

The excerpted poem presents a speaker who has used words as shelter, weapons, and escape: “Words were my shelter, words my one escape, / Words were my weapons against everything.” The speaker recounts a history of emotional isolation, turning to “scornful cries, / Hot iron songs” and building a “pointed wall of words” decorated with moons, loreleys, sphinxes, and phoenixes. This self-portrait is marked by contradictions—the speaker is both revolutionary and weary, passionate and self-mocking. The poem includes a dialogue with Hegel, who dismisses the stars as “a light eruption on the firmament,” and a sardonic reflection on religion: “For a sick Jew, / It is a very good religion.” The voice is intimate, volatile, and unsparing, suggesting that the Miscellany includes work that is as much about the poet’s inner life as about the external world.

Recurring Motifs: Fire, Words, and Mortality

Throughout the excerpt, fire imagery recurs: the speaker “flashed and snapped in my own fires,” stands as “a fire to rend and roar and leap,” and describes a false world that “stamps upon your fire.” Words are figured as “flaming stars,” “bright javelins,” and “sword and flame.” Yet the poem also dwells on exhaustion and the approach of death. The speaker, lying on a “mattress-grave” for eight years, contemplates eternity with a mixture of longing and contempt, imagining it as a bourgeois fantasy of “plump gemüthlichkeit.” The closing lines invoke a nightingale singing of love, heard “even in dreams.” This tension between fiery defiance and weary resignation—between the will to sing and the pull of the “long, cool night”—gives the poem its dramatic force and suggests the range of emotional registers present in the Miscellany.

Readers approaching this collection should set aside expectations of thematic unity or editorial guidance. The foreword’s insistence on diversity is borne out by the contrasts between the excerpted poem’s confessional intensity and the more restrained voices likely present in other contributions. The book rewards attention to individual poems as self-contained statements, each reflecting a distinct temperament and craft. The absence of an editor means there is no single argument to follow; instead, the Miscellany offers a snapshot of American poetry at a particular moment, with all its internal frictions and affinities left for the reader to discover.