Harold Monro (1879-1932) was born in Brussels and did not settle down for most of his\u00a0life. As he moved around the European continent, through Ireland and England, Monro was\u00a0characterized as a \u201cmoody young man who brooded over himself, and not liking what he found,\u00a0imagined that he would discover something better under another sky\u201d (Monro vii). Insecurities\u00a0inherent to human nature and anxieties regarding monotony were all too familiar to Monro. His\u00a0sense of impatience is perfectly captured in the final stanza of his poem, \u201cIntrospection\u201d:<\/p>\n
Always busy with procrastination, <\/em><\/p>\n Backward and forward they move in the house, <\/em><\/p>\n Full of their questions <\/em><\/p>\n No one can answer. <\/em><\/p>\n Nothing will happen\u2026 Nothing will happen\u2026<\/em> (Monro 82)<\/p>\n The stillness and sense of inactivity that Monro imagines taking place in the house he is\u00a0pondering speaks to his own values and apprehensions. He exemplifies the repetitiousness in the\u00a0house as a sort of insanity, where questions are asked and never answered and people move\u00a0forward, only to retrace their steps. Anxiety about working and movement, yet never making\u00a0progress, is pervasive across the human psyche. In this passage, Monro speaks to the human\u00a0condition of always appearing busy as a sort of indicator of success, yet the frequent inability to\u00a0actually get anything done. Not only does this passage reflect Monro\u2019s own anxieties, it provides\u00a0an insight into the human psyche that transcends culture and time and suggests the facade of\u00a0busyness may be a manifest indicator of an unease caused by restlessness.<\/p>\n The Poetry Bookshop<\/p><\/div>\n Despite Monro\u2019s disquiet, which forced him to relocate frequently, he eventually settled\u00a0and in 1911 started a periodical called The Poetry Review<\/em>. Just two years later he opened The\u00a0Poetry Bookshop, and although neither of these ventures provided him with any source of\u00a0income, Monro\u2019s genuine interest in the written word impassioned him to continue these\u00a0pursuits. As time went\u00a0on, Monro became \u201cthe unofficial representative of poetry,\u201d founding\u00a0various periodicals and serving as a sort of mentor to other poets of the era. From a simply\u00a0biographical standpoint, Monro embodies a key characteristic that many people strive to achieve:\u00a0the pursuit of passion. Although Monro received no commercial benefit from his career as a\u00a0poet, shopkeeper, and editor, he continued this line of work because it was what he felt most\u00a0fervent about. It is truly inspiring to consider a career that is not based on capital gain, but rather\u00a0is pursued because of one\u2019s sincere interest in the field of his or her choice. Monro\u2019s poem, \u201cA\u00a0Word,\u201d beautifully captures his connection to the foundations of poetry \u2013 words. He writes of the\u00a0impact that words have on him, asking, \u201cHave you ever loved a word\/Better than the man who\u00a0spoke it?\u201d This line alone shows Monro\u2019s love for the written and spoken word and makes it\u00a0easier to understand his devotion to his career.<\/p>\n Yet another facet of Monro that is interesting to consider is the multiplicity of his ventures and the paradox this created in his persona. Businessmen and poets generally do not\u00a0conjure up images of similar people. A businessman or shopkeeper is inspired by capital, while a\u00a0poet is more easily perceived as an artist less concerned with economic advantage and more\u00a0concerned with the romance of the written word. F.S. Flint highlights the contradictory nature of\u00a0Monro, writing:<\/p>\n \u201cIt is hardly possible to state one of his characteristics without immediately being\u00a0reminded that in him too was its opposite. He was hardworking and lazy; he was\u00a0generous and mean; he was a lover of freedom and a tyrant; unconventional and\u00a0conventional; a bohemian and bourgeois\u201d (Monro vi).<\/p>\n The way that Monro struggled to balance each of these unique characteristics is something that most humans can relate to. While searching for identity, it is human nature to uncover and\u00a0ponder many pieces of oneself, often times which are in direct contrast with another piece. Yet,\u00a0to live with these contradictions can be challenging. It is natural to desire to have a clear and\u00a0easily perceived identity, and one riddled with opposites is neither of those things. Hence, the\u00a0juxtaposed identities of Monro further demonstrate how he struggled to create an identity and\u00a0find balance in his various interests and personal characteristics.<\/p>\n “Businessmen and poets generally do not conjure up images of similar people.”<\/p><\/div>\n In addition to considering the biographical pieces of Monro\u2019s life in relation to universal\u00a0human nature, it is also necessary to consider the subject matter of his poems. Nearly every period of\u00a0human history has been marked by war. The earliest Epic poets, like Homer and Virgil,\u00a0celebrated war in their texts, creating a foundation for literature honoring war and those who\u00a0fight in it. Monro continued this tradition of wartime literature in the late 19th century and early\u00a020th century. However, Monro\u2019s approach to war poetry differed from his predecessors because\u00a0he did not celebrate the glory and honor that is often associated with war. Rather, he made it his\u00a0personal mission to write realistic poetry.<\/p>\n Monro\u2019s most famous piece of war poetry, entitled \u201cYouth In Arms\u201d is split into four\u00a0separate sections, the first untitled, the second called \u2018Soldier,\u2019 the third named \u2018Retreat,\u2019 and the\u00a0final titled \u2018Carrion.\u2019 The first stanza of the poem reads:<\/p>\n Happy boy, happy boy,<\/em><\/p>\n David the immortal willed,<\/em><\/p>\n Youth a thousand thousand times<\/em><\/p>\n Slain, but not once killed<\/em> (Monro 166)<\/p>\n This stanza appeals to the innocence and resiliency of youth. By repeatedly referring to the\u00a0young man as \u201chappy,\u201d his innocence is confirmed. Not only does happiness suggest a lack of\u00a0corruption or negative experience, the choice to use the word itself suggests blissful ignorance.\u00a0The man could be described as possessing any number of qualities, but the choice to use \u201chappy\u201d\u00a0suggests the naivety of the subject. In the second section of the poem, \u2018Solider,\u2019 the youthful\u00a0innocence of the young man is again reiterated when Monro states, \u201cyou will laugh as you march\u00a0to the fight\u201d (Monro 167). This demonstrates the naivety of the soldier who is unaware of the\u00a0atrocities of war. By depicting the soldier in this fashion, Monro appeals to the masses\u2019\u00a0perception of the war. Written during World War I, many civilians did not have much\u00a0information about what was happening universally. Monro captures this ignorance throughout\u00a0the poem describing the fallen soldier as a \u201cflower without pain\u201d (Monro 167). Monro\u2019s war\u00a0poetry speaks to the true sorrow that accompanies war, which takes the lives of many young\u00a0civilians. By drawing on his readers\u2019 empathy, Monro provides a more meaningful critique of the\u00a0war, especially as the poem continues.\u00a0In the final stanzas of \u201cYouth In Arms,\u201d Monro no longer characterizes the soldier as a\u00a0na\u00efve and innocent man, but he begins to expose the true horrors of war. In particular, the last\u00a0stanza of Monro\u2019s poem paints a particularly gruesome image of death, more violent than\u00a0previously described. Monro writes:<\/p>\n Hush, I hear the guns. Are you still asleep?<\/em><\/p>\n Surely I saw you a little heave to reply.<\/em><\/p>\n I can hardly think you will not turn over and creep<\/em><\/p>\n Along the furrows trenchward as if to die<\/em> (Monro 170).<\/p>\n The question, \u201cAre you still asleep?\u201d speaks to the very first stanza of the poem that suggests the\u00a0soldier is \u201cSlain, but not once killed\u201d (Monro 166). By asking the soldier the above question in\u00a0the final stanza Monro suggests the permanence of death that before was rejected as the\u00a0innocence of a young life was preserved. Furthermore, the image of the young man creeping\u00a0toward his own death is gruesome and exposes the horrors of war. The loss of innocence that\u00a0unfolds as the poem progresses is demonstrative of the true reality of war and provides a political\u00a0commentary that parallels Monro\u2019s distaste for war, despite his direct involvement in it. By\u00a0exposing the true realities of war, Monro artfully captures an event that is definitional in many\u00a0men\u2019s lives.<\/p>\n “Youth, a thousand thousand times Slain, but not once killed.” – Harold Monro<\/p><\/div>\n Perhaps more notable than his biographical notes and an analysis of his texts is the very\u00a0brief commentary written by T.S. Eliot, which prefaces a collection of his texts published shortly\u00a0after his death. Eliot declares that Monro is one of the most unique poets to ever write, and that\u00a0none of his contemporaries could capture the \u201csincere and tormented introspection\u201d that is so\u00a0crucial to an understanding of mankind (Monro xvi). Furthermore, a short look into Monro\u2019s life\u00a0and a quick close reading of a few of his poems does not do him justice. Eliot writes, \u201cThere is\u00a0no one poem, no few poems, which I could point to and say: this will give you the essence of\u00a0Monro\u201d (Monro xvi). This statement again demonstrates how truly complex Monro was; not\u00a0even his own writing could fully depict the multiple facets of his character. He not only captured\u00a0the complex human spirit, riddled with restlessness and anxiety, he placed himself within the\u00a0tradition of wartime poets who have documented one of the crucial moments in world history.\u00a0Monro\u2019s poetry speaks to the nature of mankind and allows its readers to find a piece of\u00a0themselves in the lines of his poems. He captures the image of man by writing about\u00a0commonplace and domestic occurrences, where the reader can easily place themselves, but also\u00a0by speaking to a more intimate and personal understanding of these occurrences and their\u00a0bearing on the human spirit. Eliot concludes his critical notes by writing, \u201clike every other good\u00a0poet, [Monro] has not simply done something better than anyone else, but done something that\u00a0no one else has done at all\u201d (Monro xvi). Monro has uniquely demonstrated the multiple\u00a0complexities of human nature and has artistically and revolutionarily explored what it means to\u00a0be human.<\/p>\n Source Used:<\/p>\n Monro, Harold, F. S. Flint, and T. S. Eliot. The Collected Poems of Harold Monro. Ed. Alida\u00a0Klemantaski. Monro. London: Cobden-Sanderson, 1933. Print.<\/p>\n Allyson Mackender is from Denver, Colorado. She will graduate from Trinity University in May 2017 with a Bachelor of Arts in English. She is an intern at San Antonio’s Gemini Ink, an organization that helps individuals and communities tell their stories by providing them with access to writing classes and literary seminars and lectures. After graduation, she plans to pursue a career in writing, hopefully as a features editor. Additional writing samples can be found online at her Odyssey<\/a> profile.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=”1″ specialty=”off” _builder_version=”3.9″ global_module=”2287″ prev_background_color=”#000000″][et_pb_row global_parent=”2287″ background_position=”top_left” background_repeat=”repeat” background_size=”initial”][et_pb_column type=”1_4″][et_pb_image admin_label=”iTunes Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/itunes.png” url=”https:\/\/geo.itunes.apple.com\/us\/movie\/guys-reading-poems\/id1330861332?mt=6″ \/][et_pb_image admin_label=”Amazon Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/amazon.png” url=”https:\/\/www.amazon.com\/Reading-Poems-Blu-ray-Patricia-Velasquez\/dp\/B07895ZWWF\/ref=sr_1_2?ie=UTF8&qid=1530808335&sr=8-2&keywords=guys+reading+poems” \/][\/et_pb_column][et_pb_column type=”1_4″][et_pb_image admin_label=”Google Play Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/google-play-badge.png” url=”https:\/\/play.google.com\/store\/movies\/details\/Guys_Reading_Poems?id=bQ4Tt-DfRWM&hl=en_US” \/][et_pb_image admin_label=”Vudu Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/vudu.png” url=”https:\/\/www.vudu.com\/content\/movies\/details\/Guys-Reading-Poems\/921534″ \/][\/et_pb_column][et_pb_column type=”1_4″][et_pb_image admin_label=”YouTube Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/youtube-logo.png” url=”https:\/\/www.youtube.com\/watch?v=bQ4Tt-DfRWM” \/][et_pb_image admin_label=”Blu-Ray Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/Blu-Ray.png” url=”http:\/\/www.blu-ray.com\/movies\/Guys-Reading-Poems-Blu-ray\/199089\/” \/][\/et_pb_column][et_pb_column type=”1_4″][et_pb_image admin_label=”Vimeo Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/vimeo.png” url=”https:\/\/vimeo.com\/ondemand\/guysreadingpoems\/248898991″ \/][et_pb_image admin_label=”Microsoft Buy Now” global_parent=”2287″ _builder_version=”3.9″ src=”https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2018\/07\/Microsoft.png” url=”https:\/\/www.microsoft.com\/en-us\/p\/guys-reading-poem\/8d6kgwxp6gnt\/0001″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Profile of poet Harold Monro as part of his work’s inclusion in the feature film, “Guys Reading Poems.”<\/p>\n","protected":false},"author":2,"featured_media":1283,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" By Allyson Mackender<\/strong><\/p> Harold Monro (1879-1932) was born in Brussels and did not settle down for most of his\u00a0life. As he moved around the European continent, through Ireland and England, Monro was\u00a0characterized as a \u201cmoody young man who brooded over himself, and not liking what he found,\u00a0imagined that he would discover something better under another sky\u201d (Monro vii). Insecurities\u00a0inherent to human nature and anxieties regarding monotony were all too familiar to Monro. His\u00a0sense of impatience is perfectly captured in the final stanza of his poem, \u201cIntrospection\u201d:<\/p> Always busy with procrastination, <\/em><\/p> Backward and forward they move in the house, <\/em><\/p> Full of their questions <\/em><\/p> No one can answer. <\/em><\/p> Nothing will happen\u2026 Nothing will happen\u2026<\/em> (Monro 82)<\/p> The stillness and sense of inactivity that Monro imagines taking place in the house he is\u00a0pondering speaks to his own values and apprehensions. He exemplifies the repetitiousness in the\u00a0house as a sort of insanity, where questions are asked and never answered and people move\u00a0forward, only to retrace their steps. Anxiety about working and movement, yet never making\u00a0progress, is pervasive across the human psyche. In this passage, Monro speaks to the human\u00a0condition of always appearing busy as a sort of indicator of success, yet the frequent inability to\u00a0actually get anything done. Not only does this passage reflect Monro\u2019s own anxieties, it provides\u00a0an insight into the human psyche that transcends culture and time and suggests the facade of\u00a0busyness may be a manifest indicator of an unease caused by restlessness.<\/p>[caption id=\"attachment_1268\" align=\"alignleft\" width=\"200\"] Despite Monro\u2019s disquiet, which forced him to relocate frequently, he eventually settled\u00a0and in 1911 started a periodical called The Poetry Review<\/em>. Just two years later he opened The\u00a0Poetry Bookshop, and although neither of these ventures provided him with any source of\u00a0income, Monro\u2019s genuine interest in the written word impassioned him to continue these\u00a0pursuits. As time went\u00a0on, Monro became \u201cthe unofficial representative of poetry,\u201d founding\u00a0various periodicals and serving as a sort of mentor to other poets of the era. From a simply\u00a0biographical standpoint, Monro embodies a key characteristic that many people strive to achieve:\u00a0the pursuit of passion. Although Monro received no commercial benefit from his career as a\u00a0poet, shopkeeper, and editor, he continued this line of work because it was what he felt most\u00a0fervent about. It is truly inspiring to consider a career that is not based on capital gain, but rather\u00a0is pursued because of one\u2019s sincere interest in the field of his or her choice. Monro\u2019s poem, \u201cA\u00a0Word,\u201d beautifully captures his connection to the foundations of poetry \u2013 words. He writes of the\u00a0impact that words have on him, asking, \u201cHave you ever loved a word\/Better than the man who\u00a0spoke it?\u201d This line alone shows Monro\u2019s love for the written and spoken word and makes it\u00a0easier to understand his devotion to his career.<\/p> Yet another facet of Monro that is interesting to consider is the multiplicity of his ventures and the paradox this created in his persona. Businessmen and poets generally do not\u00a0conjure up images of similar people. A businessman or shopkeeper is inspired by capital, while a\u00a0poet is more easily perceived as an artist less concerned with economic advantage and more\u00a0concerned with the romance of the written word. F.S. Flint highlights the contradictory nature of\u00a0Monro, writing:<\/p> \u201cIt is hardly possible to state one of his characteristics without immediately being\u00a0reminded that in him too was its opposite. He was hardworking and lazy; he was\u00a0generous and mean; he was a lover of freedom and a tyrant; unconventional and\u00a0conventional; a bohemian and bourgeois\u201d (Monro vi).<\/p> The way that Monro struggled to balance each of these unique characteristics is something that most humans can relate to. While searching for identity, it is human nature to uncover and\u00a0ponder many pieces of oneself, often times which are in direct contrast with another piece. Yet,\u00a0to live with these contradictions can be challenging. It is natural to desire to have a clear and\u00a0easily perceived identity, and one riddled with opposites is neither of those things. Hence, the\u00a0juxtaposed identities of Monro further demonstrate how he struggled to create an identity and\u00a0find balance in his various interests and personal characteristics.<\/p>[caption id=\"attachment_1270\" align=\"alignright\" width=\"300\"] In addition to considering the biographical pieces of Monro\u2019s life in relation to universal\u00a0human nature, it is also necessary to consider the subject matter of his poems. Nearly every period of\u00a0human history has been marked by war. The earliest Epic poets, like Homer and Virgil,\u00a0celebrated war in their texts, creating a foundation for literature honoring war and those who\u00a0fight in it. Monro continued this tradition of wartime literature in the late 19th century and early\u00a020th century. However, Monro\u2019s approach to war poetry differed from his predecessors because\u00a0he did not celebrate the glory and honor that is often associated with war. Rather, he made it his\u00a0personal mission to write realistic poetry.<\/p> Monro\u2019s most famous piece of war poetry, entitled \u201cYouth In Arms\u201d is split into four\u00a0separate sections, the first untitled, the second called \u2018Soldier,\u2019 the third named \u2018Retreat,\u2019 and the\u00a0final titled \u2018Carrion.\u2019 The first stanza of the poem reads:<\/p> Happy boy, happy boy,<\/em><\/p> David the immortal willed,<\/em><\/p> Youth a thousand thousand times<\/em><\/p> Slain, but not once killed<\/em> (Monro 166)<\/p> This stanza appeals to the innocence and resiliency of youth. By repeatedly referring to the\u00a0young man as \u201chappy,\u201d his innocence is confirmed. Not only does happiness suggest a lack of\u00a0corruption or negative experience, the choice to use the word itself suggests blissful ignorance.\u00a0The man could be described as possessing any number of qualities, but the choice to use \u201chappy\u201d\u00a0suggests the naivety of the subject. In the second section of the poem, \u2018Solider,\u2019 the youthful\u00a0innocence of the young man is again reiterated when Monro states, \u201cyou will laugh as you march\u00a0to the fight\u201d (Monro 167). This demonstrates the naivety of the soldier who is unaware of the\u00a0atrocities of war. By depicting the soldier in this fashion, Monro appeals to the masses\u2019\u00a0perception of the war. Written during World War I, many civilians did not have much\u00a0information about what was happening universally. Monro captures this ignorance throughout\u00a0the poem describing the fallen soldier as a \u201cflower without pain\u201d (Monro 167). Monro\u2019s war\u00a0poetry speaks to the true sorrow that accompanies war, which takes the lives of many young\u00a0civilians. By drawing on his readers\u2019 empathy, Monro provides a more meaningful critique of the\u00a0war, especially as the poem continues.\u00a0In the final stanzas of \u201cYouth In Arms,\u201d Monro no longer characterizes the soldier as a\u00a0na\u00efve and innocent man, but he begins to expose the true horrors of war. In particular, the last\u00a0stanza of Monro\u2019s poem paints a particularly gruesome image of death, more violent than\u00a0previously described. Monro writes:<\/p> Hush, I hear the guns. Are you still asleep?<\/em><\/p> Surely I saw you a little heave to reply.<\/em><\/p> I can hardly think you will not turn over and creep<\/em><\/p> Along the furrows trenchward as if to die<\/em> (Monro 170).<\/p> The question, \u201cAre you still asleep?\u201d speaks to the very first stanza of the poem that suggests the\u00a0soldier is \u201cSlain, but not once killed\u201d (Monro 166). By asking the soldier the above question in\u00a0the final stanza Monro suggests the permanence of death that before was rejected as the\u00a0innocence of a young life was preserved. Furthermore, the image of the young man creeping\u00a0toward his own death is gruesome and exposes the horrors of war. The loss of innocence that\u00a0unfolds as the poem progresses is demonstrative of the true reality of war and provides a political\u00a0commentary that parallels Monro\u2019s distaste for war, despite his direct involvement in it. By\u00a0exposing the true realities of war, Monro artfully captures an event that is definitional in many\u00a0men\u2019s lives.<\/p>[caption id=\"attachment_1283\" align=\"aligncenter\" width=\"640\"] Perhaps more notable than his biographical notes and an analysis of his texts is the very\u00a0brief commentary written by T.S. Eliot, which prefaces a collection of his texts published shortly\u00a0after his death. Eliot declares that Monro is one of the most unique poets to ever write, and that\u00a0none of his contemporaries could capture the \u201csincere and tormented introspection\u201d that is so\u00a0crucial to an understanding of mankind (Monro xvi). Furthermore, a short look into Monro\u2019s life\u00a0and a quick close reading of a few of his poems does not do him justice. Eliot writes, \u201cThere is\u00a0no one poem, no few poems, which I could point to and say: this will give you the essence of\u00a0Monro\u201d (Monro xvi). This statement again demonstrates how truly complex Monro was; not\u00a0even his own writing could fully depict the multiple facets of his character. He not only captured\u00a0the complex human spirit, riddled with restlessness and anxiety, he placed himself within the\u00a0tradition of wartime poets who have documented one of the crucial moments in world history.\u00a0Monro\u2019s poetry speaks to the nature of mankind and allows its readers to find a piece of\u00a0themselves in the lines of his poems. He captures the image of man by writing about\u00a0commonplace and domestic occurrences, where the reader can easily place themselves, but also\u00a0by speaking to a more intimate and personal understanding of these occurrences and their\u00a0bearing on the human spirit. Eliot concludes his critical notes by writing, \u201clike every other good\u00a0poet, [Monro] has not simply done something better than anyone else, but done something that\u00a0no one else has done at all\u201d (Monro xvi). Monro has uniquely demonstrated the multiple\u00a0complexities of human nature and has artistically and revolutionarily explored what it means to\u00a0be human.<\/p> Source Used:<\/p> Monro, Harold, F. S. Flint, and T. S. Eliot. The Collected Poems of Harold Monro. Ed. Alida\u00a0Klemantaski. Monro. London: Cobden-Sanderson, 1933. Print.<\/p> Allyson Mackender is from Denver, Colorado. She will graduate from Trinity University in May 2017 with a Bachelor of Arts in English. She is an intern at San Antonio's Gemini Ink, an organization that helps individuals and communities tell their stories by providing them with access to writing classes and literary seminars and lectures. After graduation, she plans to pursue a career in writing, hopefully as a features editor. Additional writing samples can be found online at her Odyssey<\/a> profile.<\/p>","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[183,7,9],"tags":[214,208,213,212,209,210,211],"class_list":["post-1271","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cross-cut","category-poets","category-updates","tag-allyson-mackender","tag-harold-monro","tag-how-do-i-balance-creativity-and-business","tag-poetry-review","tag-t-s-eliot","tag-the-poetry-bookshop","tag-the-poetry-review"],"_links":{"self":[{"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/posts\/1271","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/comments?post=1271"}],"version-history":[{"count":27,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/posts\/1271\/revisions"}],"predecessor-version":[{"id":2350,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/posts\/1271\/revisions\/2350"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/media\/1283"}],"wp:attachment":[{"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/media?parent=1271"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/categories?post=1271"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-json\/wp\/v2\/tags?post=1271"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"poetry](\"https:\/\/guysreadingpoems.com\/grp_wordpress\/wp-content\/uploads\/2016\/04\/poetry-bookshop.jpg\")
<\/a><\/a><\/a><\/a> The Poetry Bookshop[\/caption]<\/a> \"Businessmen and poets generally do not conjure up images of similar people.\"[\/caption]<\/a> \"Youth, a thousand thousand times Slain, but not once killed.\" - Harold Monro[\/caption]