Ina Coolbrith

[2] Coolbrith, born the niece of the Church of Jesus Christ of Latter-day Saints founder Joseph Smith, left the Mormon community as a child to enter her teens in Los Angeles, California, where she began to publish poetry.

She terminated a youthful failed marriage to make her home in San Francisco, and met writers Bret Harte and Charles Warren Stoddard with whom she formed the "Golden Gate Trinity" closely associated with the literary journal Overland Monthly.

While Miller toured Europe and lived out their mutual dream of visiting Lord Byron's tomb, Coolbrith cared for his Wintu daughter and members of her own family.

[4] Coolbrith began to write a history of California literature, including much autobiographical material, but the fire following the 1906 San Francisco earthquake consumed her work.

Her style was more than the usual melancholic or uplifting themes expected of women—she included a wide variety of subjects in her poems, which were noted as being "singularly sympathetic" and "palpably spontaneous".

[5] Her sensuous descriptions of natural scenes advanced the art of Victorian poetry to incorporate greater accuracy without trite sentiment, foreshadowing the Imagist school and the work of Robert Frost.

[22] Coolbrith's literary work connected her with poet Alfred Lord Tennyson and naturalist John Muir, as well as Charles Warren Stoddard who also helped Harte edit the Overland Monthly.

[24] In mid-1870, Coolbrith met the eccentric poet Cincinnatus Hiner Miller, newly divorced from his second wife, and introduced him to the San Francisco literary circle at the suggestion of Stoddard.

[16] Coolbrith then helped Miller prepare for his upcoming trip to England, where he would lay a laurel wreath on the tomb of Lord Byron, a poet they both greatly admired.

When he placed the wreath at the Church of St. Mary Magdalene, Hucknall, it caused a stir among the English clergy who did not see any connection between California poets and the late lord.

They sent to Constantine I, the King of Greece for another laurel wreath from that country of Byron's heroic death, accompanied by some Greek funding which was joined in kind from the purse of the Bishop of Norwich to rebuild and refurbish the 500-year-old church.

[30] Magazine writer Samuel Dickson reported that, at a soirée in 1927, an aging Coolbrith told him of the famous lovers she had known, and that she had once dazzled Joseph Duncan, Isadora's father.

"[21] Yale poet Edward Rowland Sill, professor at the University of California and a keen critic of American literature, gave Coolbrith a letter of introduction that he wished her to send to publisher Henry Holt.

It said, simply, "Miss Ina Coolbrith, one of our few really literary persons in California, and the writer of many lovely poems; in fact, the most genuine singer the West has yet produced.

"[35] Quaker poet and former abolitionist John Greenleaf Whittier wrote to Coolbrith from Amesbury, Massachusetts, to share his opinion that her "little volume" of poetry, "which has found such favor with all who have seen it on this side of the Rocky mountains", should be republished on the East Coast.

"[35] Beginning as early as 1865 in San Francisco, Coolbrith held literary meetings at her home, hosting readings of poetry, and topical discussions, in the tradition of European salons.

[42] John Muir had long been in the habit of sending Coolbrith letters, as well as the occasional box of fruit (such as cherries picked from the trees on his Martinez estate).

He made such an offering in late 1894, accompanied by a suggestion for a new career which he thought would keep her in the area: she could fill the position of San Francisco's librarian, recently vacated by John Vance Cheney.

It contained "The Mariposa Lily", a description of California's natural beauty, and "The Captive of the White City", which detailed the cruel mistreatment of Native Americans in the late 19th century.

[6] In addition, the collection included "The Sea-Shell" and "Sailed", two poems in which Coolbrith described a woman's love with deep sympathy and unusually vivid physical imagery, in a way that presaged the later Imagist school of Ezra Pound and Robert Frost.

[47] Her salary was $50 each month,[27] less than she had been earning in Oakland, but her duties were light enough that she was able to devote a greater proportion of her time to writing, and she signed on as sometime staff of Charles Fletcher Lummis's The Land of Sunshine magazine.

Coolbrith, third vice president and life member of the club, briefly discussed the most prominent early American women poets but focused more fully on ones that became known in the second half of the 19th century, reciting example verse, and critically evaluating the work.

[49] A month later, disaster struck in the form of the calamitous fire that followed the great San Francisco earthquake in April 1906: Coolbrith's home at 1604 Taylor Street burned to the ground.

[55] During 1910–1914, with money from Atherton and a discreet grant from her Bohemian friends,[56] Coolbrith spent time going between residences in New York City and San Francisco, writing poetry.

[56] In 1911, Coolbrith accepted the presidency of the Pacific Coast Woman's Press Association, and a park was dedicated to her, at 1715 Taylor Street, one block from her pre-earthquake home.

[57] In 1913, Ella Sterling Mighels founded the California Literature Society which met informally once a month at Coolbrith's Russian Hill home, newspaper columnist and literary critic George Hamlin Fitch presiding.

At the Exposition itself on June 30, Coolbrith was lauded by Senator James D. Phelan who said that her early associate Bret Harte called her the "sweetest note in California literature.

The artist said his 13-foot-2-inch (4.01 m) polychrome patchwork statue was a composite image of 20 women, historic and current, important to Oakland, including Coolbrith, Isadora Duncan, Julia Morgan and more.

A 55-pound (25 kg) plate bearing Coolbrith's poem "Copa De Oro (The California Poppy)"[77] in raised porcelain enamel text is set into the sidewalk at the high-traffic northwest corner of Addison and Shattuck Avenues.

When byways in the Berkeley hills were named after Bret Harte, Charles Warren Stoddard, Mark Twain, and other literati in Coolbrith's circle, women were not included.

A fine charcoal portrait of Ina Coolbrith in her 30s or 40s, shown from the neck up, wearing a garment with a high, open collar made of lace, with hair curled and secured atop the head, looking slightly to the left. A fountain pen signature is below the portrait, reading "Ina Coolbrith", the letter "c" writ large to sweep underneath the next five letters.
Ina Coolbrith in the 1880s
A soft photographic portrait of a girl approximately 11 years old, shown from the neck up, wearing a simple dark garment with no collar, her hair parted in the middle and falling straight to frame her cheeks, turning to ringlets at her neck and shoulders, the head tilted slightly to the right, the eyes looking directly forward. The image shows loss of detail from wear.
Coolbrith in her youth
A monochrome photograph portrait of a woman 29 or 30 years old, shown from the chest up, wearing a long necklace with dark beads atop a white blouse with an encircling collar made of lace, covered on the shoulders with a dark lace drape, with long, dark hair curled and secured behind the head with tresses down past the shoulder blades, the woman's body turned to the right but her head turned to the left to reveal a dangling earring.
Coolbrith in San Francisco at the age of 29 or 30
A finely detailed monochrome photograph portrait of a bearded and mustachioed man in his 30s or 40s, shown from the waist up, wearing a jacket and vest over a white shirt with its collar closed by a cravat secured by a jeweled finger ring, a multi-corded watch fob hanging from a vest button, decorated by another ring, the man's hands together in his lap, his body leaning to the left and the head turned to the right, his dark hair full and long in the back, long but thin on top, revealing a high forehead
Joaquin Miller in the 1870s
Monochrome photograph portrait of a man in his mid-20s shown from the shoulders up, wearing a dark coat, white collared shirt and dark, thin, bow tie, the man's shoulders squared forward but his head turned somewhat to the right, looking right, with light-colored hair in short, oiled waves on the head, light-colored eyebrows, and a wide, light-colored mustache extending just beyond the corners of the mouth.
Until he criticized her in writing, Coolbrith considered Ambrose Bierce a good friend.
Songs from the Golden Gate (1895)
A monochrome engraving, bust portrait of a woman in her 40s or 50s, wearing a white blouse with a high, open collar made of lace, hair curled and secured atop the head, the woman shown in profile looking directly to the right
Portrait of Coolbrith from a publication of her poem California , 1918
A monochrome portrait photograph of an elderly woman sitting in her home with a white Persian cat resting at her feet. The woman is wearing a light-colored dressing gown, her closed hands on her lap, her head tilting to one side, looking tight-lipped at the photographer, a white lace veil and scarf over her hair and framing her face.
Coolbrith portrait by Ansel Adams
A color photograph of a pink granite headstone amid lush green grass and yellow oxalis flowers. The headstone is engraved with a laurel wreath at the top, and reads "Ina Donna Coolbrith" 1841–1928 "California's First Poet Laureate".
The Ina Coolbrith Circle emplaced this laurel wreath -engraved headstone in 1986.
Ina Coolbrith Path