Hilda Doolittle

Hilda Doolittle’s Career

Doolittle’s career as a writer began with the short stories she published in Philadelphia in her early twenties. When she moved to London she began writing poetry more intensely. Her relationships with Pound and Aldington influenced each other in their development of Imagist poetry. In 1912, she became an editor of the newly-formed Poetry magazine. She published three of her first poems in the 1913 issue of the magazine.

In 1916, Doolittle published her first poetry book, entitled Sea Garden. She became the assistant editor of the publication The Egoist, replacing her husband Aldington as he served in World War I. In the 1920s and 1930s, Doolittle published three series of novels; her work explored classical literature and examined the patriarchal lens through which stories were written. Her first collection, Magna Graeca, consisted of two novels: Palimpsest (1921) and Hedylus (1928). She then wrote the Madrigal cycle, which consisted of four novels that weren’t published until many years after her death that dealt with autobiographical details about Doolittle’s own life and her relationships. In the 1930s, she published novellas as part of the Borderline cycle.

Doolittle was also involved in film. She was part of the 1927 POOL Group, which included Bryher and Macpherson; the trio wrote, directed, and acted in the film Borderline (1930). They also established a film criticism magazine known as Close Up, which Doolittle frequently wrote for. She also published memoirs such as Writing on the Wall (1944) about her experience with psychoanalysis.

Back in London during World War II, Doolittle continued writing poetry, memoirs, and prose. She published numerous poems throughout the 1950s and was awarded the American Academy of Arts and Letters medal in 1960, becoming the first woman to win the award.

Fig 2 - Plaque outside of the home of Doolittle where she lived in London—Doolittle spent much of her life living outside of the United States, most of it split between England and Switzerland.

Works by HD

Hilda Doolittle is regularly known by the moniker HD, an abbreviation of her name. This abbreviation is said to have come from Ezra Pound signing her name once as HD, which Doolittle then adopted.

Books by Hilda Doolittle

Doolittle published many books throughout her lifetime. These include her prose pieces that came from her three cycles, Magna Graeca, Madrigal, and Borderline. A few of her more famous books, such as HERmione (1981) and The Gift (1982) as they contained autobiographical information about her relationships with women and also the revelation that Aldington was not her daughter Frances’s father.

Poems by Hilda Doolittle

Published separately in magazines along with numerous poetry collections, Doolittle wrote many poems throughout her lifetime. Her first poetry collection was Sea Garden (1916) in which she set her poems amongst a lush natural landscape in order to express her poetic and personal identity. Her subjects ranged though, as with The Walls Do Not Fall (1944), her poetry collection that confronts the atrocities of the First and Second World Wars. Helen in Egypt (1961) used Greek and Egyptian myths and history as a basis for her poetry collection that examined the patriarchal norms that dominated the myths and stories of the past.

Hilda Doolittle Quotes

This quotation from her book HERmione, not published during her lifetime, reflects Doolittle’s approach to writing. Like many artists, when she couldn’t produce writing to her standards it was an agonizing, uninspired process, but when the inspiration was there, writing became her salvation. Particularly in response to the World Wars, which affected her deeply, Doolittle found an outlet in her writing.

This poem recounts the tale of Eurydice. Here, Doolittle turns the expectations of the reader regarding Eurydice’s fate by showing her inner narrative. Despite the machinations of the Gods and Orpheus’s ultimate failure, Eurydice’s own essence cannot be ruined or stolen.

Fig. 3 - Bust of Helen of Troy, one of Doolittle's frequent subjects as a symbol of women.

Hilda Doolittle’s Writing Style

Doolittle’s writing style was avant-garde for the time period in which she was writing. She was one of the three primary poets to codify what it meant to be an Imagist writer, namely that the subject must be treated directly, words must be used as economically as possible, and verses were to be written to evoke a musical rhythm.

In addition to classic Imagism, Doolittle employed free-verse in her poetry. Her poems often did not follow a set rhyme scheme or meter, rather flowing from line to line without regard for formal structure. Her direct approach to poetry showed both her background as an American, in her word choice and in her descriptions, as well as her point of view on writing as a woman.

Her poetry is characterized by its intensity and an often detached tone. She was inspired by Greek myths, and much of her inspiration for the subjects of her poem came from the poetry of Sappho. Her later work changed thematically to reflect the values that she had developed: her extensive research and work on psychoanalysis, particularly her time spent with Freud, and a deep interest in the unconscious mind. Her later work became more personal and more concerned with revelations brought on by her psychoanalytic work.

Hilda Doolittle’s Legacy

Doolittle’s legacy is an important part of feminist literary history. She underwent a period of rediscovery in the 1970s, years after her death, as literary critics began to challenge prevailing notions about the male-dominated fields of acclaimed literature. Her own writing, which critiqued and examined patriarchal structures in society and literature, was reexamined as scholars sought to expand their knowledge of modernist writers beyond just the likes of Pound, Eliot, and Aldington.

Thanks to this rediscovery, Doolittle’s legacy is established as a leading figure in the Imagist and Modernist literary movements of the 20th century.

1. Hilda Doolittle, HERmione, 1981.

2. Hilda Doolittle, “Eurydice,” 1982.