More than 180 sonnets selected from Millay's books of poems--including 20 sonnets from Mine the Harvest not contained in previous editions of her Collected Sonnets--are brought together in this expanded edition.

An introduction by Norma Millay, written expressly for this volume, focuses on examples of the poet's variations in sonnet structure. Here is the voice of Millay, whose prophetic vision, devotion to freedom, and intellectual daring combine with her mastery of the sonnet form to speak eloquently for the human spirit.

Author: Edna St Vincent Millay
Binding Type: Paperback
Publisher: Harper Perennial
Published: 04/13/1988
Pages: 224
Weight: 0.4lbs
Size: 8.01h x 5.31w x 0.58d
ISBN: 9780060910914
Revised, Expand Edition

About the Author
Millay, Edna St Vincent: - Edna St. Vincent Millay was born in 1892 in Rockland, Maine, the eldest of three daughters, and was encouraged by her mother to develop her talents for music and poetry. Her long poem Renascence won critical attention in an anthology contest in 1912 and secured for her a patron who enabled her to go to Vassar College.

After graduating in 1917 she lived in Greenwich Village in New York for a few years, acting, writing satirical pieces for journals (usually under a pseudonym), and continuing to work at her poetry. She traveled in Europe throughout 1921-22 as a foreign correspondent for Vanity Fair. Her collection A Few Figs from Thistles (1920) gained her a reputation for hedonistic wit and cynicism, but her other collections (including the earlier Renascence and Other Poems [1917]) are without exception more seriously passionate or reflective.

In 1923 she married Eugene Boissevain and -- after further travel -- embarked on a series of reading tours which helped to consolidate her nationwide renown. From 1925 onwards she lived at Steepletop, a farmstead in Austerlitz, New York, where her husband protected her from all responsibilities except her creative work. Often involved in feminist or political causes (including the Sacco-Vanzetti case of 1927), she turned to writing anti-fascist propaganda poetry in 1940 and further damaged a reputation already in decline. In her last years of her life she became more withdrawn and isolated, and her health, which had never been robust, became increasingly poor.

She died in 1950.