"Oh, Edna!" A book of the Best poems of Edna St. Vincent Millay
Updated: Aug 26
If you think the name "Edna" infers old-fashioned sentiments, you haven't encountered the iconic Jazz Age poet, Edna St. Vincent Millay.
Many people discover Millay by accident—perhaps by coming across her rebellious "First Fig" or the profound depth of "Renascence." My introduction to her work happened decades ago in a university library, where I was captivated by a voice that felt remarkably modern, even though it was written many decades earlier.
Millay is celebrated for her diverse range of poetic forms, from her "Fig" short poems and the simple elegance of her profound sonnets to her epic poems like "Renascence" and the Pulitzer Prize-winning "Ballad of the Harp Weaver."
FIRST FIG My candle burns at both ends; It will not last the night; But ah, my foes, and oh, my friends— It gives a lovely light!
Why Millay's Poetry Resonates Today
Edna St. Vincent Millay was a poetic prodigy and a provocateur. She was a woman strikingly ahead of her time, whose verse was—and often still is—deemed "shocking." She didn't just write poetry; she lived it with a burning intensity that earned her the Pulitzer Prize and made her a household name.
In this volume, we have gathered the top Edna St. Vincent Millay poems to showcase the full range of her genius. Whether she is exploring the weight of infinity or the "puny fever" of human love, her work remains a masterclass in the discipline of compression.
Introducing "Oh, Edna!" - a best-of poetry book
The title "Oh, Edna!" highlights the shocking and forthright sentiments of a complex individual as well as her most piercing insights. This exclamation encapsulates a range of emotions at reading her poems that are both shocking and revealing: exasperation as well as overwhelming beauty.
The expression "Oh, Edna!" suggests a sense of familiarity, as though we come to experience her completely unpredictable nature through her poetry. She reveals the complexities of her life with a boldness that is both admirable and disconcerting.
Inside this Edna St. Vincent Millay Anthology
This isn’t a complete works of Edna St. Vincent Millay–rather, it is a themed collection of her best poems for a modern audience. Included you will find:
The Power of the Short Poem: From the bright, eight-line flares that made her famous to her mastery of the Millay sonnet, every line is cut down to its living edge.
A Journey Through Her Major Works: Featuring essential selections from her most iconic early collections, including:
Renascence and Other Poems (1917)
A Few Figs from Thistles (1920)
Second April (1921)
The Ballad of the Harp-Weaver (1922)
Timeless Themes: The collection explores love, time, joy, faith, loss, and awakening—poems that can be read in a breath but carried quietly through a life.
Escape in Edna St Vincent Millay's Poetry
Whether you're searching for the finest works of Edna St. Vincent Millay to enhance your personal collection or seeking a heartfelt poetry gift for someone special, Oh, Edna! provides an elegant poetic escape.
"Oh, Edna!" is now available in both paperback and hardcover editions.
5 Favorite Edna St. Vincent Millay Sonnets
The sonnets of Edna St. Vincent Millay are truly sublime. They capture a depth of feeling with an elegance and simplicity that are her trademark.
In these five love sonnets, we discover that Millay loved frequently, deeply and was both heart-broken and a heart breaker.
If your experience of sonnets has been limited to Shakespeare, read on and delight in some of the most beautiful sonnets ever written which are as timeless as when they were written a hundred years ago.
I, being born a woman
I, being born a woman and distressed By all the needs and notions of my kind, Am urged by your propinquity to find Your person fair, and feel a certain zest To bear your body's weight upon my breast: So subtly is the fume of life designed, To clarify the pulse and cloud the mind, And leave me once again undone, possessed. Think not for this, however, the poor treason Of my stout blood against my staggering brain, I shall remember you with love, or season My scorn with pity,--let me make it plain: I find this frenzy insufficient reason For conversation when we meet again.
When you, that at this moment are to me
When you, that at this moment are to me Dearer than words on paper, shall depart, And be no more the warder of my heart, Whereof again myself shall hold the key; And be no more--what now you seem to be-- The sun, from which all excellences start In a round nimbus, nor a broken dart Of moonlight, even, splintered on the sea; I shall remember only of this hour-- And weep somewhat, as now you see me weep-- The pathos of your love, that, like a flower, Fearful of death yet amorous of sleep, Droops for a moment and beholds, dismayed, The wind whereon its petals shall be laid.
Time Does Not Bring Relief
Time does not bring relief; you all have lied Who told me time would ease me of my pain! I miss him in the weeping of the rain; I want him at the shrinking of the tide; The old snows melt from every mountain-side, And last year's leaves are smoke in every lane; But last year's bitter loving must remain Heaped on my heart, and my old thoughts abide! There are a hundred places where I fear To go,—so with his memory they brim! And entering with relief some quiet place Where never fell his foot or shone his face I say, "There is no memory of him here!" And so stand stricken, so remembering him!
I shall forget you presently
I shall forget you presently, my dear, So make the most of this, your little day, Your little month, your little half a year, Ere I forget, or die, or move away, And we are done forever; by and by I shall forget you, as I said, but now, If you entreat me with your loveliest lie I will protest you with my favorite vow. I would indeed that love were longer-lived, And oaths were not so brittle as they are, But so it is, and nature has contrived To struggle on without a break thus far,— Whether or not we find what we are seeking Is idle, biologically speaking.
When I too long have looked upon your face
When I too long have looked upon your face, Wherein for me a brightness unobscured Save by the mists of brightness has its place, And terrible beauty not to be endured, I turn away reluctant from your light, And stand irresolute, a mind undone, A silly, dazzled thing deprived of sight From having looked too long upon the sun. Then is my daily life a narrow room In which a little while, uncertainly, Surrounded by impenetrable gloom, Among familiar things grown strange to me Making my way, I pause, and feel, and hark, Till I become accustomed to the dark.
FAQs about Edna St. Vincent Millay
Who was Edna St Vincent Millay?
Edna St. Vincent Millay was born in the beautiful state of Maine in 1892, a place famous for its stunning coastline and natural charm, which later inspired her poetry. Even as a child, Millay was an avid writer, and in 1912, while still a teenager, she made an impact on the literary scene with her amazing poem "Renascence." This piece highlighted her lyrical talent and emotional depth, marking the start of her rise to fame. "Renascence," with its themes of self-discovery and human experience, struck a chord with readers and critics, establishing Millay as a major voice in American poetry.
After her early success, Millay moved to the lively and culturally rich Greenwich Village in New York City. During the Jazz Age, this area was a hotspot for artists, writers, and thinkers, buzzing with cultural energy and change. In Greenwich Village, Millay became a key figure in the bohemian scene, embracing the era's vibe of freedom and experimentation. She was a vocal supporter of feminist ideas, using her poetry and public presence to challenge social norms and fight for women's rights. Her boldness and unique style made her a symbol of the progressive movements of her time, inspiring many to embrace their true selves and chase their dreams without hesitation.
Millay's home, the Steepletop estate in Austerlitz, New York, became a haven for her creative work. This beautiful estate, set in the peaceful countryside, was the backdrop for much of her writing and is filled with her poetic spirit. After she passed away in 1950, Steepletop turned into a pilgrimage spot for fans of her work. People visit not only to honor Millay's literary contributions but also to soak in the tranquil environment that sparked some of her deepest poetry. The estate is a testament to her legacy, keeping alive the memory of a woman who broke the mold and whose voice still echoes in today's conversations about art, feminism, and individuality. Nowadays, Steepletop is more than just a historical site; it's a celebration of Millay's life and a lasting reminder of her impact on American literature and culture.
What are the most famous Edna St Vincent Millay poems?
Edna St. Vincent Millay is renowned for several iconic works that defined the Jazz Age. Her most famous Edna St Vincent Millay poems include "First Fig" (known for the line "My candle burns at both ends"), "Renascence," and her deeply moving sonnets, such as "Sonnet XLIII" ("What lips my lips have kissed"). These pieces showcase her signature blend of traditional form and rebellious modern themes.
What themes are common in Edna St Vincent Millay poems?
When exploring Edna St Vincent Millay poems, you'll encounter powerful themes of female sexuality, fierce independence, the fleeting nature of youth, and profound grief. She masterfully contrasted the classical constraints of the sonnet form with progressive, bohemian attitudes toward love, life, and mortality.
Why did Edna St Vincent Millay poems become so popular during the Jazz Age?
Edna St Vincent Millay poems resonated deeply with the 1920s generation because they captured the spirit of the "New Woman." Her poetry openly addressed female desire, non-conformity, and an epicurean lifestyle, making her a literary celebrity and a voice for youthful liberation following World War I.
Which awards did Edna St Vincent Millay poems receive?
Edna St. Vincent Millay made history in 1923 by becoming the first woman to win the Pulitzer Prize for Poetry, honoring her collection The Ballad of the Harp-Weaver. In 1943, she was awarded the prestigious Frost Medal from the Poetry Society of America for her lifetime contribution to American letters. Her lyrical mastery also earned her early recognition through the 1912 The Lyric Year prize and a continuous stream of critical acclaim that cemented her legacy.
How many volumes of poetry did Edna St. Vincent Millay write?
During her prolific career, Edna St. Vincent Millay published roughly 17 distinct volumes of poetry, including major collections, chapbooks, and verse plays. Her most influential standalone collections include Renascence and Other Poems (1917), A Few Figs from Thistles (1920), The Ballad of the Harp-Weaver (1922), and Fatal Interview (1931), which collectively established her mastery of both lyrical poetry and the sonnet form.
What did Edna St Vincent Millay earn the Pulitzer Prize for?
Edna St. Vincent Millay won the 1923 Pulitzer Prize for Poetry for her collection The Ballad of the Harp-Weaver (also published as The Ballad of the Harp-Weaver: A Few Figs from Thistles: Eight Sonnets in American Poetry, 1922. A Miscellany).
She was awarded the prize specifically citing the titular poem "The Ballad of the Harp-Weaver" alongside her published collection.
Edna St Vincent Millay was the third woman ever to win the Pulitzer Prize for Poetry. Before Millay won in 1923, Sara Teasdale and Margaret Widdemer were awarded poetry prizes through the precursor to the official Pulitzer Prize for Poetry.
Sara Teasdale received the 1918 Columbia University Poetry Prize (a Poetry Society of America award administered alongside the Pulitzers prior to the official award's establishment in 1922) for her collection Love Songs.
Margaret Widdemer co-won the 1919 precursor prize alongside Carl Sandburg for her collection The Old Road to Paradise.
When the official Pulitzer Prize for Poetry category was formally established in 1922, Edwin Arlington Robinson won the inaugural award, followed by Edna St. Vincent Millay in 1923 as the first woman to win the official award.
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