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It seems appropriate to review the life and career of Arthur Davison Ficke (1883-1945) in the centennial year of his birth. During the first half of the twentieth century, Ficke's fame seemed secure. For many writers, he was a poet's poet. Theodore Dreiser enjoyed Ficke's company because of his "seemingly changeless poetic response to life, -- lovely though sombre or gay moods or emotions that appear to me to bubble or sweep upwards to expression -- as water rises over grass and moss in a dell or over the hard rocks and hot sands of a desert . . . ."1 His poetry appeared in the first issues of Poetry and the Little Review, and in the first volumes of Midland and the Saturday Review of Literature. In addition, his interpretation of Japanese painting enjoyed an international reputation and his humorous poetry graced the pages of the early Esquire.
In June a theoretical article on the "Spectra school" appeared in the Forum, no doubt with the knowing connivance of the editor, Mitchell Kennerley. In an oblique reference to the Surrealist manifesto of André Breton, Ficke described the new type of Spectric poet as one who believed that "the apparently unrelated impressions reflecting through a theme or idea may be artfully enough selected or directly enough recorded, without the conventional mental or verbal bridges, to reproduce, in the reader's mind, their effect on the mind of the poet."18 In emphasizing a "heightened" reality, the Spectric manifesto of Ficke and Bynner laid down these precepts: if the poet "wishes to describe a landscape, he will not attempt a map, but will put down those winged emotions, those fantastic analogies, which the real scene awakens in his own mind."19 When serious criticism of Spectric poetry began to appear, "the two original Spectrists were elated and tossed dice to determine who should have permanent possession of the letter. Bynner won and Ficke thereupon had a copy certified by a notary public to convince anyone to whom he showed his files that the praise of the serious-minded poet was genuine."20 Their bubble burst when the Dial described the Spectric process and stated that "the interruption of the war . . . gave 'Miss Knish' a commission as Captain Arthur Davison Ficke."21 After the war, Bynner was quoted as saying Ficke had told him with "a distinct note of grief in his voice: 'Do you know, some of my best work is in 'Spectra'?"22