CRITICISM

Cheney, Anne. “A Sense of Glad Awakening: Millay's Childhood and Youth.” In Millay in Greenwich Village, pp. 7-28. Tuscaloosa: The University of Alabama Press, 1975.

Discusses Renascence as a literary expression of Millay's intellectual and spiritual struggles.

Dash, Joan. “Edna St. Vincent Millay.” In A Life of One's Own: Three Gifted Women and the Men They Married, pp. 127-32. New York: Harper & Row, 1973.

Describes the publication of Renascence as a pivotal event in Millay's career.

DuBois, Arthur E. “Edna St. Vincent Millay.” The Sewanee Review 43, no. 1 (January-March 1935): 80-104.

Discusses Millay's poetry as a manifestation of her creative personas: “precocious child, authentic poet, woman, and mystic.”

Gray, James. Edna St. Vincent Millay, Minneapolis: University of Minnesota Press, 1967, 48 p.

Includes a discussion of Renascence, in which Gray observes that in this poem “Millay announced the theme to which four more decades of her life were to be spent in the most intense kind of concentration.”

Lombardi, Marilyn May. “Vampirism and Translation: Millay, Baudelaire, and the Erotics of Poetic Transfusion.” In Millay at 100: A Critical Reappraisal, edited by Diane P. Freedman, pp. 130-41. Carbondale: Southern Illinois University Press, 1995.

Observes that Millay, a translator of Baudelaire's Flowers of Evil, transfers many vampiric and masochistic motifs, which abound in Baudelaire's collection, to Renascence.

Scott, Nathan A., Jr. “Millay: A Reconsideration.” The Christian Century 74, no. 18 (1 May 1957): 559-60.

Finds Millay's poetic idiom exceedingly conventional, but admits that Renascence is nevertheless a work of exceptional beauty.

Sheean, Vincent. The Indigo Bunting: A Memoir of Edna St. Vincent Millay, New York: Harper & Brothers, 1951, 131 p.

Includes a discussion of the world view and spiritual perspectives that inspired Renascence.

Wilson, Edmund. “Epilogue, 1952: Edna St. Vincent Millay.” In The Shores of Light, pp. 744-93. New York: Farrar, Straus and Young, 1952.

Includes a consideration of the extraordinary expressiveness, precision, and musicality of Millay's reading voice, particularly in her recorded rendition of Renascence.

Additional coverage of Millay's life and career is contained in the following sources published by Thomson Gale: American Writers, Vol. 3; Concise Dictionary of American Literary Biography, 1917-1929; Contemporary Authors, Vols. 104, 130; Dictionary of Literary Biography, Vols. 45, 249; DISCovering Authors; DISCovering Authors 3.0; DISCovering Authors: British Edition; DISCovering Authors: Canadian Edition; DISCovering Authors Modules: Most-studied Authors and Poets; Encyclopedia of World Literature in the 20th Century, Ed. 3; Exploring Poetry; Literature Resource Center; Major 20th-Century Writers, Eds. 1, 2; Modern American Women Writers; Poetry Criticism, Vol. 6; Poetry for Students, Vols. 3, 17; Poets: American and British; Reference Guide to American Literature, Ed. 4; Twayne's United States Authors; Twentieth-Century Literary Criticism, Vols. 4, 49; World Literature Criticism Supplement; and World Poets.