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Carl SandburgA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
"Fog" by Carl Sandburg (1916)
One of Sandburg’s most popular poems—which has become known as a quintessential modernist poem—this short, imagistic “American haiku” poem romanticizes the urban landscape in the same way that “Jazz Fantasia” romanticizes the city. Typical of a Sandburg poem, “Fog” is economical and uses simple language, strong imagery, and easy to follow yet effective figurative language. Another similarity to “Jazz Fantasia” is the juxtaposition of the natural and urban landscape. The fog comes in, the city supports it, and then the fog moves on as it does. The fog is personified in the same way “Jazz Fantasia” personifies the instruments.
"Chicago" by Carl Sandburg (1914)
Along with “Fog,” “Chicago” is Sandburg’s other best known poem and has become something of an anthem for the city of Chicago. The opening stanza stands out as another excellent example of Sandburg’s personification, imagery, and figurative language, all done with common language. The second half of the poem embodies Whitman’s influence with long, rhythmic lines. And as with “Fog” and “Jazz Fantasia,” the poem romanticizes urbanization, focusing on items like buildings and smog.
The Great Gatsby by F. Scott Fitzgerald (1925)
F Scott Fitzgerald’s literary epic The Great Gatsby tells the tale of Jay Gatsby, a mysterious, wealthy bachelor in love with Daisy. The novel is notable for its depiction of jazz era culture and for its unique perspective on American life and the American dream. Not exceedingly popular in its day, the novel has become a classic and is now a quintessential American tale.
"Jelly Roll Blues" by Jelly Roll Martin (Performance from 1926)
An early example of New Orleans jazz, this song provides a good example of the type of music Sandburg writes about in “Jazz Fantasia.”
"A Workingman’s Poet" by Danny Heitman (2013)
Heitman runs through Sandburg’s life and many contradictions, tracking the evolution of Sandburg’s popularity and his legacy. Heitman points out how Sandburg, while famous in life, has had his reputation dwindle over the years as most literary critics do not find his poetry worthy of continued study. Despite this, Heitman presents a balanced view of Sandburg’s legacy in America, suggesting that despite the naysayers, Sandburg’s contributions to American culture continue.
"Recovering Carl Sandburg: Politics, Prose, and Poetry after 1920" by Evert Villareal
In this doctoral dissertation, Villareal analyzes Sandburg’s poetry, his biography of Lincoln, and assessments of Sandburg’s poetry during his life and after. Villareal sees value in Sandburg’s work, especially when connected to his political philosophy. Villareal makes the case that Sandburg’s work needs more attention grounded in a better understanding of the poet’s philosophy and artistic motivations.
Sung with only a piano to accompany her, Carrico embodies a 1920s ethos in dress, action, and voice. Carrico sings the poem fast during the first part, but the last stanza slows down to match the tone of the poem.
By Carl Sandburg