The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1895-11-10

and encouragement to writer's who may
find in California inspiration TO tell some
thing worth the hearing, and one that will
tend toward the home recognition of home
work, independently OF the Eastern critics.
This prettily bound arrival, SO fttingly
named Songs From the Golden Gate" has
another feature worthy of the prominent
notice being given it. Its poetry is not all
in Miss Coolbrith's verses. William
Keith's illustrations, four of which enrich
the book, share in giving the pleasure the
volume bestows and creating what pride
in California genius it may awaken.
Keith is poet, too, and for twenty years
or so be and Ina Coolbrith have been close
and sympathizing friends, who have stud
led natures moods and lessons alike.
They have been similarly
Tremulous, impressional;
Alive to gentle influence of landscape and Of sky,
And each has been trying to express, by a
different method, what has come from the
forests, the mountains, the green or tawny
hills, the freshness and bloom of glens and
meadows and pure waters, clouds and
skies. What else there is in 1.-The prim-
rose by the rivers brim' cannot be told in
descriptive prose. Miss Coolbrith has
successfully struggled to reveal in smooth
numbers what the storm, the poisoning,
the gentle day, have meant, and Keith,
not careful in matter of fact way of each
line and tone and pose of natures forms,
has tried to express with his brush, in his
impressionist style, the moral and spiritual
qualities, beauties and feelings he has per-
ceived-the poetry OF nature. The merits
of Keith's works and the rank to which he
is entitled as an artist may here be left to
those who dispute about them. 1t is
enough in referring to his latest work as
an illustrator TO note the spirit and method
with which he has worked in paraphras-
ing, as it were, poets songs.
Keith's spirit and method, more than
his great technical skill, have made it fit
ting that he should illustrate these poems
that give us natures moods and messages.
Keith's aim is ever to express the feeling
with which he views nature, and in his
paintings he directs his skill to revealing
how sturdy are the oaks, how innocence
is given to quiet valleys in the sunshine of
spring, how majestic are the redwoods,
how exquisite are the forest color tones
that may entrance if one can know that
they are before his eyes, and how loving,
threatening, dreamy, mysterious, sublime,
evanescent or eternal nature variously
seems. The artist reliessmuch on color in
this effort to express poetic feeling.
"Keith's colors are not nature, say some,
and "That is very true" replies Keith. To
certain degree he is bold to make free
with natures color tones, though to de-
gree not easily perceptible. He does it, as
he does with form outline, as means of
expressing feeling.
In the illustrations, which he has joined
to the poems of his friend, the aid of color
is denied him, but the pictures are Keith's
still. They may be judged by the accom-
panying reproduction of one made for THE
CALL by himself. 1t was dull and stormy
day afield, which inspired Miss Coolbriths
.'My Cloth of Gold,'" and Keith's con-
ception OF such day-keen of winter wind,
dark of sky, ruthless of the green, and
iailer of the Spirits given in his black