Her publications appeared in both the cutting-edge literary journals and popular culture magazines such as Vanity Fair . The resultant modernism was one of emotion, diverging from the masculine aloofness found in Eliot's Waste Land and other high modernist works. This is not to say that she did not experiment. There is a radical, scathing side to Edna. Her ego comes no where close to the radical master himself, yet oddly pays homage to him.
Every bed is narrow.
Millay's attitude toward life in general is much more accepting than was Catullus's. She rails against the vengefulness of inactivity which seems to possess Catullus. To fully embrace life, for her, seems to require accepting the good with the bad. She also can write satire most eloquently, as Catullus did, but the underlying current of her selfhood is one of positive energy and self-effacement, rather than sadistic humor. She quite enjoyably seems to take up this alien role, relaying the most blasphemous of details in a casual, yet highly calculated style.