In "The American H.D.," Annette Debo considers the significance of nation in the artist... more In "The American H.D.," Annette Debo considers the significance of nation in the artistic vision and life of the modernist writer Hilda Doolittle. Her versatile career stretching from 1906 to 1961, H.D. was a major American writer who spent her adult life abroad; a poet and translator who also wrote experimental novels, short stories, essays, reviews, and a children s book; a white writer with ties to the Harlem Renaissance; an intellectual who collaborated on avant-garde films and film criticism; and an upper-middle-class woman who refused to follow gender conventions. Her wide-ranging career thus embodies an expansive narrative about the relationship of modernism to the United States and the nuances of the American nation from the Gilded Age to the Cold War.Making extensive use of material in the Beinecke Rare Book and Manuscript Library at Yale including correspondences, unpublished autobiographical writings, family papers, photographs, and Professor Norman Holmes Pearson s notes for a planned biography of H.D. Debo s "American H.D." reveals details about its subject never before published. Adroitly weaving together literary criticism, biography, and cultural history, "The American H.D." tells a new story about the significance of this important writer.Written with clarity and sincere affection for its subject, "The American H.D." brings together a sophisticated understanding of modernism, the poetry and prose of H.D., the personalities of her era, and the historical and cultural context in which they developed: America s emergence as a dominant economic and political power that was riven by racial and social inequities at home."
Literary studies produce canons rather than kings, and from the appearance of the Oxford Antholog... more Literary studies produce canons rather than kings, and from the appearance of the Oxford Anthology of American Literature in 1938 to his death in 1975, influential Yale professor Norman Holmes Pearson shaped the American canon through both his institutional influence and his gift for cultivating writers.1 Over the course of his long career, Pearson was on the Board of Chancellors of the Academy of American Poets from 1964 to 1975; he served on the boards of American Quarterly (1952–55) and American Literature (1957–60); he was a member of the original Smithsonian Council (1966–69); he chaired the Department of American Studies at Yale from 1957 to 1967; and he was the faculty advisor of the Yale Collection of American Literature from 1947 to 1975. Pearson was awarded two Guggenheim Fellowships (1948, 1956) and wrote at least ninety-nine recommendations for others; he was in the American Literature Group of the Modern Language Association; he received regular invitations to National Book Award ceremonies; and he wrote entries for Encyclopedia Americana on American literature (a 16,000-word survey), H.D. (Hilda Doolittle), Nathaniel Hawthorne, and more.2 This merely partial list of Pearson’s myriad professional activities nonetheless demonstrates the central role he played in the advancement of American literature, a field whose prominence expanded exponentially during his lifetime. This essay will consider two aspects of Pearson’s career: his early involvement in editing the influential 1938 Oxford Anthology of American Literature, which both shaped and reflected Pearson’s sense of the canon—especially the field of modern poetry—and the way in which he harnessed Yale’s institutional influence to bring attention to writers he championed, such as Gertrude Stein, Marianne modernism / modernity
The poet Hilda Doolittle (H.D.) came on the literary scene in the 1910s as a young American expat... more The poet Hilda Doolittle (H.D.) came on the literary scene in the 1910s as a young American expatriate living in England. Her early lyric poems, in Sea Garden, helped launch the free verse movement known as imagism. Her work as a whole, spanning five decades, includes long narrative poems, novels, memoirs, and translations. Her experience of the two world wars in Europe is felt throughout her oeuvre, much of which focuses on the power and destructiveness of war. Other recurring topics are ancient models of civilization, comparative mythology, and female deities suppressed in the modern era.
African-American Poets: 1950s to the Present, 2010
Page 154. ANNETTE DEBO Ophelia Speaks: Resurrecting Still Lives in Natasha Trethewey's Bello... more Page 154. ANNETTE DEBO Ophelia Speaks: Resurrecting Still Lives in Natasha Trethewey's Bellocq's Ophelia In Bellocq's Ophelia, Natasha Trethewey gives voice to the African Ameri-can sex workers living in New Orleans ...
This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolitt... more This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolittle). Readers can now easily obtain almost all of H.D.'s writings—which remained, for decades, ensconced in the archives—and the question becomes what else is needed in H.D. studies. New biographies are desperately needed, and edited volumes of letters are the logical complement to the biographies. Digitization of H.D.'s papers, which has begun, would make materials increasingly available to scholars, established and new. Editions are still needed for a few texts, and scholarly editions would assist our understanding of the most important works. Electronic tools are being developed and need financial support for development and publication, and the more traditional venues of selected essay volumes, reference books, and journal special issues are called for. Additionally, as the volume of scholarly work on H.D. increases, we need new critical lenses through which to read her writing.
Emily Dickinson's poetry permeates undergraduate literature classes; firstyear students read ... more Emily Dickinson's poetry permeates undergraduate literature classes; firstyear students read her, seniors read her, and most students study her work more than once.1 As a result of her high level of exposure in the classroom, methods of teaching Dickinson have received substantial attention, not to mention their own volume in the MLA Approaches to Teaching series in 1989. Today Dickinson studies are undergoing a radical shift into manuscript study because of Ralph Franklin and the computer. Dickinson's earlier editors have had extensive control over the final presentation of her work because she left almost all of her poetry in manuscript form, and, until Ralph Franklin, all the editors translated it into typescript for publication. In contrast, in 1981 Franklin published The Manuscript Books of Emily Dickinson in which he reconstructed the fascicles, the small booklets of poems that Dickinson sewed together and early editors took apart, and presented facsimiles of the manus...
Literary studies produce canons rather than kings, and from the appearance of the Oxford Antholog... more Literary studies produce canons rather than kings, and from the appearance of the Oxford Anthology of American Literature in 1938 to his death in 1975, influential Yale professor Norman Holmes Pearson shaped the American canon. Over the course of his long career, Pearson was on the Board of Chancellors of the Academy of American Poets from 1964 to 1975; he served on the boards of American Quarterly (1952-1955) and American Literature (1957-1960); he was a member of the original Smithsonian Council (1966-1969); and he chaired the Department of American Studies at Yale from 1957 to 1967. This merely partial list of Pearson’s myriad of professional activities nonetheless demonstrates the central role he played in the advancement of American literature, a field whose prominence expanded exponentially during his lifetime. Through extensive archival research, this essay considers two aspects of Pearson’s career: his early involvement in editing the influential 1938 Oxford Anthology of American Literature, which both shaped and reflected Pearson’s sense of the canon—especially the field of modern poetry—and the way in which he harnessed Yale’s institutional influence to bring attention to writers he championed. The Oxford Anthology of American Literature was the only anthology of its time to include Gertrude Stein, Marianne Moore, and H.D., and Pearson was instrumental in organizing influential library exhibitions at Yale for these three writers, which created opportunities for new general readers as well as scholars contemplating critical studies—all of which contributed to canonical status for Stein, Moore, and H.D.
This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolitt... more This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolittle). Readers can now easily obtain almost all of H.D.'s writings-which remained, for decades, ensconced in the archives-and the question becomes what else is needed in H.D. studies. New biographies are desperately needed, and edited volumes of letters are the logical complement to the biographies. Digitization of H.D.'s papers, which has begun, would make materials increasingly available to scholars, established and new. Editions are still needed for a few texts, and scholarly editions would assist our understanding of the most important works. Electronic tools are being developed and need financial support for development and publication , and the more traditional venues of selected essay volumes, reference books, and journal special issues are called for. Additionally, as the volume of scholarly work on H.D. increases, we need new critical lenses through which to read her writing. In 1969, Contemporary Literature published H.D.: A Reconsideration, a special issue in which editor L. S. Dembo declared H.D. (Hilda Doolittle [1886-1961]) a writer "of much greater significance than has commonly been supposed"-a then brash assertion that has proved remarkably accurate (433). Dembo had already begun writing about H.D. in his 1966 Conceptions of Reality in Modern American Poetry, and he conceived of this special issue as a way to participate in shaping the literary canon. The issue featured an interview with Norman Holmes Pearson (1909-75), H.D.'s close friend and literary executor, who was himself invested in establishing H.D. in the canon by drawing attention to her later, mature work-which he envisioned being collected in a volume titled "Last Poems"-rather than by allowing her reputation to rest on her imagist poetry. 1 As early as December 10, 1948, Pearson had shared his plans with Bryher (Annie Winifred Ellerman [1894-1983]), H.D.'s longtime intimate companion:
In "The American H.D.," Annette Debo considers the significance of nation in the artist... more In "The American H.D.," Annette Debo considers the significance of nation in the artistic vision and life of the modernist writer Hilda Doolittle. Her versatile career stretching from 1906 to 1961, H.D. was a major American writer who spent her adult life abroad; a poet and translator who also wrote experimental novels, short stories, essays, reviews, and a children s book; a white writer with ties to the Harlem Renaissance; an intellectual who collaborated on avant-garde films and film criticism; and an upper-middle-class woman who refused to follow gender conventions. Her wide-ranging career thus embodies an expansive narrative about the relationship of modernism to the United States and the nuances of the American nation from the Gilded Age to the Cold War.Making extensive use of material in the Beinecke Rare Book and Manuscript Library at Yale including correspondences, unpublished autobiographical writings, family papers, photographs, and Professor Norman Holmes Pearson s notes for a planned biography of H.D. Debo s "American H.D." reveals details about its subject never before published. Adroitly weaving together literary criticism, biography, and cultural history, "The American H.D." tells a new story about the significance of this important writer.Written with clarity and sincere affection for its subject, "The American H.D." brings together a sophisticated understanding of modernism, the poetry and prose of H.D., the personalities of her era, and the historical and cultural context in which they developed: America s emergence as a dominant economic and political power that was riven by racial and social inequities at home."
Literary studies produce canons rather than kings, and from the appearance of the Oxford Antholog... more Literary studies produce canons rather than kings, and from the appearance of the Oxford Anthology of American Literature in 1938 to his death in 1975, influential Yale professor Norman Holmes Pearson shaped the American canon through both his institutional influence and his gift for cultivating writers.1 Over the course of his long career, Pearson was on the Board of Chancellors of the Academy of American Poets from 1964 to 1975; he served on the boards of American Quarterly (1952–55) and American Literature (1957–60); he was a member of the original Smithsonian Council (1966–69); he chaired the Department of American Studies at Yale from 1957 to 1967; and he was the faculty advisor of the Yale Collection of American Literature from 1947 to 1975. Pearson was awarded two Guggenheim Fellowships (1948, 1956) and wrote at least ninety-nine recommendations for others; he was in the American Literature Group of the Modern Language Association; he received regular invitations to National Book Award ceremonies; and he wrote entries for Encyclopedia Americana on American literature (a 16,000-word survey), H.D. (Hilda Doolittle), Nathaniel Hawthorne, and more.2 This merely partial list of Pearson’s myriad professional activities nonetheless demonstrates the central role he played in the advancement of American literature, a field whose prominence expanded exponentially during his lifetime. This essay will consider two aspects of Pearson’s career: his early involvement in editing the influential 1938 Oxford Anthology of American Literature, which both shaped and reflected Pearson’s sense of the canon—especially the field of modern poetry—and the way in which he harnessed Yale’s institutional influence to bring attention to writers he championed, such as Gertrude Stein, Marianne modernism / modernity
The poet Hilda Doolittle (H.D.) came on the literary scene in the 1910s as a young American expat... more The poet Hilda Doolittle (H.D.) came on the literary scene in the 1910s as a young American expatriate living in England. Her early lyric poems, in Sea Garden, helped launch the free verse movement known as imagism. Her work as a whole, spanning five decades, includes long narrative poems, novels, memoirs, and translations. Her experience of the two world wars in Europe is felt throughout her oeuvre, much of which focuses on the power and destructiveness of war. Other recurring topics are ancient models of civilization, comparative mythology, and female deities suppressed in the modern era.
African-American Poets: 1950s to the Present, 2010
Page 154. ANNETTE DEBO Ophelia Speaks: Resurrecting Still Lives in Natasha Trethewey's Bello... more Page 154. ANNETTE DEBO Ophelia Speaks: Resurrecting Still Lives in Natasha Trethewey's Bellocq's Ophelia In Bellocq's Ophelia, Natasha Trethewey gives voice to the African Ameri-can sex workers living in New Orleans ...
This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolitt... more This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolittle). Readers can now easily obtain almost all of H.D.'s writings—which remained, for decades, ensconced in the archives—and the question becomes what else is needed in H.D. studies. New biographies are desperately needed, and edited volumes of letters are the logical complement to the biographies. Digitization of H.D.'s papers, which has begun, would make materials increasingly available to scholars, established and new. Editions are still needed for a few texts, and scholarly editions would assist our understanding of the most important works. Electronic tools are being developed and need financial support for development and publication, and the more traditional venues of selected essay volumes, reference books, and journal special issues are called for. Additionally, as the volume of scholarly work on H.D. increases, we need new critical lenses through which to read her writing.
Emily Dickinson's poetry permeates undergraduate literature classes; firstyear students read ... more Emily Dickinson's poetry permeates undergraduate literature classes; firstyear students read her, seniors read her, and most students study her work more than once.1 As a result of her high level of exposure in the classroom, methods of teaching Dickinson have received substantial attention, not to mention their own volume in the MLA Approaches to Teaching series in 1989. Today Dickinson studies are undergoing a radical shift into manuscript study because of Ralph Franklin and the computer. Dickinson's earlier editors have had extensive control over the final presentation of her work because she left almost all of her poetry in manuscript form, and, until Ralph Franklin, all the editors translated it into typescript for publication. In contrast, in 1981 Franklin published The Manuscript Books of Emily Dickinson in which he reconstructed the fascicles, the small booklets of poems that Dickinson sewed together and early editors took apart, and presented facsimiles of the manus...
Literary studies produce canons rather than kings, and from the appearance of the Oxford Antholog... more Literary studies produce canons rather than kings, and from the appearance of the Oxford Anthology of American Literature in 1938 to his death in 1975, influential Yale professor Norman Holmes Pearson shaped the American canon. Over the course of his long career, Pearson was on the Board of Chancellors of the Academy of American Poets from 1964 to 1975; he served on the boards of American Quarterly (1952-1955) and American Literature (1957-1960); he was a member of the original Smithsonian Council (1966-1969); and he chaired the Department of American Studies at Yale from 1957 to 1967. This merely partial list of Pearson’s myriad of professional activities nonetheless demonstrates the central role he played in the advancement of American literature, a field whose prominence expanded exponentially during his lifetime. Through extensive archival research, this essay considers two aspects of Pearson’s career: his early involvement in editing the influential 1938 Oxford Anthology of American Literature, which both shaped and reflected Pearson’s sense of the canon—especially the field of modern poetry—and the way in which he harnessed Yale’s institutional influence to bring attention to writers he championed. The Oxford Anthology of American Literature was the only anthology of its time to include Gertrude Stein, Marianne Moore, and H.D., and Pearson was instrumental in organizing influential library exhibitions at Yale for these three writers, which created opportunities for new general readers as well as scholars contemplating critical studies—all of which contributed to canonical status for Stein, Moore, and H.D.
This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolitt... more This essay looks to the future of literary scholarship about modernist writer H.D. (Hilda Doolittle). Readers can now easily obtain almost all of H.D.'s writings-which remained, for decades, ensconced in the archives-and the question becomes what else is needed in H.D. studies. New biographies are desperately needed, and edited volumes of letters are the logical complement to the biographies. Digitization of H.D.'s papers, which has begun, would make materials increasingly available to scholars, established and new. Editions are still needed for a few texts, and scholarly editions would assist our understanding of the most important works. Electronic tools are being developed and need financial support for development and publication , and the more traditional venues of selected essay volumes, reference books, and journal special issues are called for. Additionally, as the volume of scholarly work on H.D. increases, we need new critical lenses through which to read her writing. In 1969, Contemporary Literature published H.D.: A Reconsideration, a special issue in which editor L. S. Dembo declared H.D. (Hilda Doolittle [1886-1961]) a writer "of much greater significance than has commonly been supposed"-a then brash assertion that has proved remarkably accurate (433). Dembo had already begun writing about H.D. in his 1966 Conceptions of Reality in Modern American Poetry, and he conceived of this special issue as a way to participate in shaping the literary canon. The issue featured an interview with Norman Holmes Pearson (1909-75), H.D.'s close friend and literary executor, who was himself invested in establishing H.D. in the canon by drawing attention to her later, mature work-which he envisioned being collected in a volume titled "Last Poems"-rather than by allowing her reputation to rest on her imagist poetry. 1 As early as December 10, 1948, Pearson had shared his plans with Bryher (Annie Winifred Ellerman [1894-1983]), H.D.'s longtime intimate companion:
The American H.D. considers the significance of nation in the artistic vision and life of the mo... more The American H.D. considers the significance of nation in the artistic vision and life of the modernist writer Hilda Doolittle (H.D.). H.D. serves as an important subject for study because of her versatile career that stretched from 1909 to 1961: she was a major American writer who lived her adult life abroad; a poet who also wrote experimental novels, short and long stories, essays, reviews, one children’s book, and translations; a white writer with ties to the Harlem Renaissance; an intellectual who collaborated on avant-garde films and film criticism; and an upper-middle-class woman who refused to follow gender conventions. H.D.’s wide-ranging career enables a study centering on a single figure to become an expansive narrative about modernism’s relationship with the United States and the nuances of the American nation, from the Gilded Era through the Cold War.
Adroitly weaving together literary criticism, biography, cultural history, and a wealth of archival research, The American H.D. explores the meaning of nation during H.D.’s childhood in the U.S. and how H.D. retained her American identity, despite her long sojourn in Europe. H.D.’s early years are emphasized as experiences that shaped her as a writer, and her friendship with Marianne Moore—her most enduring and meaningful relationship with another American writer—is traced through their letters and published reviews. H.D.’s other most significant relationship in the American academy was with Yale University Professor Norman Holmes Pearson, who solidified her position as an American writer, a role that required American citizenship during the Cold War. Throughout her literary career, pivotal characteristics of nation remain central in H.D.’s writing, and issues of sacred and shared land, ethnic and racial identities, and gender are central to this study. The American H.D. writes new cultural history about H.D., her writing, an American cultural context, and the young nation.
Within the Walls is a grouping of fourteen short stories, which H.D. wrote between the summer of ... more Within the Walls is a grouping of fourteen short stories, which H.D. wrote between the summer of 1940 and the spring of 1941. These short stories chronicle H.D.’s experiences during the Blitz, which she spent in London. Her first-hand impressions describe a daughter driving a mobile canteen, the tens of thousands of civilian casualties in only 1941, the English response to reports of the concentration camps, the nightly Nazi bombing raids, the political climate and Russia’s participation, Virginia Woolf’s suicide and the role of the artist, and the hope that spring brings. Within the Walls also pre-visions and illuminates H.D.’s most famous epic poem Trilogy, as well as The Gift. Within the Walls was published in a limited art edition of 300 copies in 1993 by Windhover Press and then went out of print.
What Do I Love? is a series of three long poems about World War II—“May 1943,” “R.A.F.,” and “Christmas 1944.” These poems address the deprivations caused by the war, the death of the ambulance driver Goldie, a wounded Royal Air Force pilot, and Christmas at the war’s end. In a letter to her close friend and literary executor Norman Holmes Pearson, H.D. wrote that while these poems did not fit in Trilogy, she was fond of them and thought they worked well as a group.
What Do I Love? was printed in 1950 by the printer of Life and Letters Today as a chapbook in a run of 50 copies, which H.D. sent to her friends for Christmas that year, and she hoped they would be published with Within the Walls. In H.D. by Delia Alton, she wrote, “We are Within the Walls, but only just. This is a series of sketches, written in situ as it were, 1940, 1941. I place ‘Before the Battle,’ the earliest sketch, dated summer 1940, at the end of Within the Walls, as the dream of the mother in the old grave-yard at Bethlehem not only pre-visions The Gift, the child memoirs, begun about this time, but also acts as an introduction to the selection of poems What Do I Love which it now seems to me should be included in this volume.”
The extensive historical and biographical introduction presents H.D. as a person with her boots on the ground in war-torn London. Illustrated with war propaganda posters from London’s Imperial War Museum, it addresses Dunkirk and Prime Minister Winston Churchill, the Battle of Britain and the Blitz, realities of life in London, women’s war work, concentration camps and refugees, the role of art during wartime, the conscription of women, the Women’s Land Army, rationing, a Reading by Famous Poets, D-Day and doodle-bugs, and V-E Day and the coming of spring.
The poet Hilda Doolittle (H.D.) came on the literary scene in the 1910s as a young American expat... more The poet Hilda Doolittle (H.D.) came on the literary scene in the 1910s as a young American expatriate living in England. Her early lyric poems, in Sea Garden, helped launch the free verse movement known as imagism. Her work as a whole, spanning five decades, includes long narrative poems, novels, memoirs, and translations. Her experience of the two world wars in Europe is felt throughout her oeuvre, much of which focuses on the power and destructiveness of war. Other recurring topics are ancient models of civilization, comparative mythology, and female deities suppressed in the modern era.
Since the 1970s, H.D.’s poetry and prose have appeared regularly on undergraduate and graduate syllabi, in courses ranging from American or British modernism and gender and sexuality studies to literature of war and classical literature and mythology. Yet her work--complex and densely allusive--can be difficult for students to comprehend and for instructors to teach. This volume aims to assist instructors in helping their students navigate the intricacies of H.D.’s work and overcome some of the frustration of deciphering modern poetry. The first part, “Materials,” presents resources useful to instructors of H.D.’s work, and the second part, “Approaches,” offers specific ways to teach her wide-ranging corpus. Contributors describe courses that teach H.D. in the context of modernism, alongside such writers as Ezra Pound, T. S. Eliot, and Gertrude Stein. Others follow the themes of myth and religion in her long epic poems Helen in Egypt and Trilogy and her autobiographical work The Gift. H.D.’s analysis with Freud and her subsequent memoir of the experience find their place in a course on critical theory. Many instructors teach H.D. through the lens of sexuality, feminism, or race; others use interdisciplinary approaches that focus on H.D.’s engagement with film.
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Adroitly weaving together literary criticism, biography, cultural history, and a wealth of archival research, The American H.D. explores the meaning of nation during H.D.’s childhood in the U.S. and how H.D. retained her American identity, despite her long sojourn in Europe. H.D.’s early years are emphasized as experiences that shaped her as a writer, and her friendship with Marianne Moore—her most enduring and meaningful relationship with another American writer—is traced through their letters and published reviews. H.D.’s other most significant relationship in the American academy was with Yale University Professor Norman Holmes Pearson, who solidified her position as an American writer, a role that required American citizenship during the Cold War. Throughout her literary career, pivotal characteristics of nation remain central in H.D.’s writing, and issues of sacred and shared land, ethnic and racial identities, and gender are central to this study. The American H.D. writes new cultural history about H.D., her writing, an American cultural context, and the young nation.
What Do I Love? is a series of three long poems about World War II—“May 1943,” “R.A.F.,” and “Christmas 1944.” These poems address the deprivations caused by the war, the death of the ambulance driver Goldie, a wounded Royal Air Force pilot, and Christmas at the war’s end. In a letter to her close friend and literary executor Norman Holmes Pearson, H.D. wrote that while these poems did not fit in Trilogy, she was fond of them and thought they worked well as a group.
What Do I Love? was printed in 1950 by the printer of Life and Letters Today as a chapbook in a run of 50 copies, which H.D. sent to her friends for Christmas that year, and she hoped they would be published with Within the Walls. In H.D. by Delia Alton, she wrote, “We are Within the Walls, but only just. This is a series of sketches, written in situ as it were, 1940, 1941. I place ‘Before the Battle,’ the earliest sketch, dated summer 1940, at the end of Within the Walls, as the dream of the mother in the old grave-yard at Bethlehem not only pre-visions The Gift, the child memoirs, begun about this time, but also acts as an introduction to the selection of poems What Do I Love which it now seems to me should be included in this volume.”
The extensive historical and biographical introduction presents H.D. as a person with her boots on the ground in war-torn London. Illustrated with war propaganda posters from London’s Imperial War Museum, it addresses Dunkirk and Prime Minister Winston Churchill, the Battle of Britain and the Blitz, realities of life in London, women’s war work, concentration camps and refugees, the role of art during wartime, the conscription of women, the Women’s Land Army, rationing, a Reading by Famous Poets, D-Day and doodle-bugs, and V-E Day and the coming of spring.
Since the 1970s, H.D.’s poetry and prose have appeared regularly on undergraduate and graduate syllabi, in courses ranging from American or British modernism and gender and sexuality studies to literature of war and classical literature and mythology. Yet her work--complex and densely allusive--can be difficult for students to comprehend and for instructors to teach. This volume aims to assist instructors in helping their students navigate the intricacies of H.D.’s work and overcome some of the frustration of deciphering modern poetry. The first part, “Materials,” presents resources useful to instructors of H.D.’s work, and the second part, “Approaches,” offers specific ways to teach her wide-ranging corpus. Contributors describe courses that teach H.D. in the context of modernism, alongside such writers as Ezra Pound, T. S. Eliot, and Gertrude Stein. Others follow the themes of myth and religion in her long epic poems Helen in Egypt and Trilogy and her autobiographical work The Gift. H.D.’s analysis with Freud and her subsequent memoir of the experience find their place in a course on critical theory. Many instructors teach H.D. through the lens of sexuality, feminism, or race; others use interdisciplinary approaches that focus on H.D.’s engagement with film.