The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920-1925
SIGNATURES

Identified individuals are represented by a biographical sketch, a list of connections to other signatures, and, in most cases, an artifact from the Ransom Centers collections. Help us identify more signatures by submitting your suggested identification.

 

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Franklin Abbott

Achmed Abdullah

Mary Aldis

George William Amis

Sherwood Anderson

Egmont Arens

Mary Austin

Eugene S. Bagger

Bardar

Winslow M. Bell

William Rose Benét

Florence Blackstone

Paul J. Blackstone

David William Bone

Albert Boni

Charles Boni

Ernest Augustus Boyd

Will Bradley

Berton Braley

Max M. Breslow

Heywood Broun

Albert Brush

Arthur Caesar

Henry Seidel Canby

Jonathan Cape

Gene Carr

Oscar Edward Cesare

Christine Challenger

Betty Ross Clarke

Helen Louise Cohen

Alta May Coleman

Seward Collins

Frank Conroy

George Cram Cook

John Cournos

Bosworth Crocker

J. Vincent Crowne

Homer Croy

Mary Carolyn Davies

Helena Smith Dayton

Fred Erving Dayton

Floyd Dell

S. A. DeWitt

Roy Dickinson

Charles Divine

Alice Willits Donaldson

John Dos Passos

Theodore Dreiser

Joseph Drum

Robert L. Eaton

Laurie York Erskine

Wilfred Ewart

Henry Guy Fangel

John Chipman Farrar

Hugh Ferriss

Arthur Davison Ficke

John Bernard Flannagan

Dwight Franklin

James Earle Fraser

Joseph Lewis French

Robert Frothingham

Barney Gallant

Porter Garnett

Susan Glaspell

Montague Glass

Joseph Gollomb

Herbert S. Gorman

Stephen Graham

Dorothy L. A. Grant

Harry Wagstaff Gribble

William Gropper

Louise Closser Hale

Harry Hansen

Sadakichi Hartmann

Josephine Herbst

John Herrmann

W. E. Hill

Elisabeth Sanxay Holding

Robert Cortes Holliday

Terence Holliday

Guy Holt

Holland Hudson

Peter Lord Templeton Hunt

Frank Townsend Hutchens

Lewis Jackson

Norman Jacobsen

Rutger Bleecker Jewett

Orrick Johns

Merle De Vore Johnson

Jeanne Judson

Harry Kemp

Bernice Lesbia Kenyon

John G. Kidd

William A. (William Albion) Kittredge

Eastwood Lane

Lawrence Langner

Christian Leden

Courtenay Lemon

Sinclair Lewis

Ludwig Lewisohn

Max Liebermann

Nicholas Vachel Lindsay

Preston Lockwood

Hendrick Willem Van Loon

Lingard Loud

Pierre Loving

Orson Lowell

C. R. Macauley

Kenneth Macgowan

Lawton Mackall

Hector MacQuarrie

John Albert Macy

Jane Mander

Don Marquis

H. A. Mathes

William McFee

Alexander McKay

Hawley McLanahan

Charles M. McLean

Ada Jaffray McVickar

Scudder Middleton

George Middleton

John Mistletoe

Roy Mitchell

Christopher Morley

Robert Nathan

Dudley Nichols

Robert Nichols

Charles Norman

Joseph Jefferson O'Neil

Florence O'Neill

Ivan Opffer

Martha Ostenso

Lou Paley

Edmund Lester Pearson

Basil H. Pillard

Ethel McClellan Plummer

Alexander Popini

William MacLeod Raine

Ben Ray Redman

Charles J. Reed

Lola Ridge

Felix Riesenberg

W. Adolphe Roberts

Edwin Arlington Robinson

Edwin (Ted) Meade Robinson

Bruce Rogers

L. Stuart Rose

Herb Roth

Edward Royce

Tony Sarg

Jacob Salwyn Schapiro

Walter Schnackenberg

Thomas Seltzer

Fern Forrester Shay

Margaret Badollet Caldwell Shotwell

Emil Siebern

Upton Sinclair

John Sloan

Thorne Smith

David Tosh Smith

Robert A. Smith

Charles Somerville

Vincent Starrett

Vilhjalmur Stefansson

Donald Ogden Stewart

Gordon Stiles

Emily Strunsky

Genevieve Taggard

Gardner Teall

Sara Teasdale

Lloyd M. Thomas

Basil Thompson

Paul Thompson

Helen Thurlow

Adolph Treidler

Peter Underhill

Harvey P. Vaughn

Walter Vodges

C. A. Voight

Mary Heaton Vorse

Webb Waldron

J. Leeming Walker

Foster Ware

John V. A. Weaver

Luther E. Widen

Edward Arthur Wilson

Lily Winner

Robert L. Wolf

Cuthbert Wright

Zorach

Theodore F. Zucker

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THE DOOR
Location on door: front, panel 3
CONNECTIONS

Fiction Writers

Film

Playwrights

Poets

Theater

World War I Soldiers

ROBERT NICHOLS

Robert Nichols (1893-1944) was an English poet-soldier whose verse captured the devastation of the World War I battlefield. Nichols's studies at Oxford University were interrupted by the outbreak of war in 1914 and he soon became a second lieutenant in the Royal Field Artillery. Though shell shock and poor health led him to be released from service in France after only a year, the war pervades his first two collections of verse, Invocation (1915) and Ardours and Endurances (1917), both of which were commercial successes. In a June 1918 review for the Bookman, Jessie B. Rittenhouse wrote, "Of all the books through which the soldier has spoken in this war, Ardours and Endurances, by Robert Nichols, is the highest and finest utterance." During 1918 and 1919, Nichols toured the United States, giving lectures and readings sponsored by the Ministry of Information. In 1921, he took a teaching position in Japan, and then in 1924 moved to Hollywood, where he became involved in film before returning to Europe in 1926. Following his initial wartime success, Nichols penned an additional volume of poetry and works of fiction, a satire, and several plays. However, over time, his reputation was eclipsed by those of his friends and fellow World War I poets Siegfried Sassoon and Robert Graves.

 
 
 
 
 
 
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    Creator: Nichols, Robert, 1893-1944

    Title: Early and late manuscript drafts of "Casualty"

    Item Date: 1916-1917, undated

    Material Type: Manuscript

    ADA Caption: Early and late manuscript drafts of "Casualty"


    Curatorial Department: Manuscripts Collection

    Collection Name: Robert Nichols Collection

    Stack Location: Works: Unidentified-C

    Copyright Clearance: Grateful acknowledgement is made to the Robert Nichols Estate for permission to display this artifact

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Early and late manuscript drafts of Robert Nichols's poem "Casualty," 1916-1917 and undated

"Casualty" is the first section of Nichols's poetic sequence "Yesterday," and is represented here by early and late manuscript drafts. "Yesterday" was dedicated to Siegfried Sassoon and collected in Nichols's third volume of verse, Aurelia & Other Poems (1920). In the first draft, the dying soldier's breath is described as being "drawn with the sound of a slow-filling squirt," whereas in the second, the line becomes even more graphic--"drawn with the suck of a slow-filling squirt."