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About this poet

Carl Sandburg was born in Galesburg, Illinois, on January 6, 1878. His parents, August and Clara Johnson, had emigrated to America from the north of Sweden. After encountering several August Johnsons in his job for the railroad, the Sandburg's father renamed the family. The Sandburgs were very poor; Carl left school at the age of thirteen to work odd jobs, from laying bricks to dishwashing, to help support his family. At seventeen, he traveled west to Kansas as a hobo. He then served eight months in Puerto Rico during the Spanish-American war. While serving, Sandburg met a student at Lombard College, the small school located in Sandburg's hometown. The young man convinced Sandburg to enroll in Lombard after his return from the war.

Sandburg worked his way through school, where he attracted the attention of Professor Philip Green Wright, who not only encouraged Sandburg's writing, but paid for the publication of his first volume of poetry, a pamphlet called Reckless Ecstasy (1904). While Sandburg attended Lombard for four years, he never received a diploma (he would later receive honorary degrees from Lombard, Knox College, and Northwestern University). After college, Sandburg moved to Milwaukee, where he worked as an advertising writer and a newspaper reporter. While there, he met and married Lillian Steichen (whom he called Paula), sister of the photographer Edward Steichen. A Socialist sympathizer at that point in his life, Sandburg then worked for the Social-Democrat Party in Wisconsin and later acted as secretary to the first Socialist mayor of Milwaukee from 1910 to 1912.

The Sandburgs soon moved to Chicago, where Carl became an editorial writer for the Chicago Daily News. Harriet Monroe had just started Poetry: A Magazine of Verse, and began publishing Sandburg's poems, encouraging him to continue writing in the free-verse, Whitman-like style he had cultivated in college. Monroe liked the poems' homely speech, which distinguished Sandburg from his predecessors. It was during this period that Sandburg was recognized as a member of the Chicago literary renaissance, which included Ben Hecht, Theodore Dreiser, Sherwood Anderson, and Edgar Lee Masters. He established his reputation with Chicago Poems (1916), and then Cornhuskers (1918), for which he received the Pulitzer Prize in 1919. Soon after the publication of these volumes Sandburg wrote Smoke and Steel (1920), his first prolonged attempt to find beauty in modern industrialism. With these three volumes, Sandburg became known for his free verse poems that portrayed industrial America.

In the twenties, he started some of his most ambitious projects, including his study of Abraham Lincoln. From childhood, Sandburg loved and admired the legacy of President Lincoln. For thirty years he sought out and collected material, and gradually began the writing of the six-volume definitive biography of the former president. The twenties also saw Sandburg's collections of American folklore, the ballads in The American Songbag and The New American Songbag (1950), and books for children. These later volumes contained pieces collected from brief tours across America which Sandburg took each year, playing his banjo or guitar, singing folk-songs, and reciting poems.

In the 1930s, Sandburg continued his celebration of America with Mary Lincoln, Wife and Widow (1932), The People, Yes (1936), and the second part of his Lincoln biography, Abraham Lincoln: The War Years (1939), for which he was awarded the Pulitzer Prize. He received a second Pulitzer Prize for his Complete Poems in 1950. His final volumes of verse were Harvest Poems, 1910-1960 (1960) and Honey and Salt (1963). Carl Sandburg died on July 22, 1967.


Selected Bibliography

Poetry

Chicago Poems (1916)
Complete Poems (1950)
Cornhuskers (1918)
Good Morning, America (1928)
Harvest Poems (1950)
Honey and Salt (1963)
In Reckless Ecstasy (1904)
Selected Poems (1926)
Slabs of the Sunburnt West (1922)
Smoke and Steel (1920)
The People, Yes (1936)

Prose

Abraham Lincoln: The Prairie Years (1926)
Abraham Lincoln: The War Years (1939)
Mary Lincoln: Wife and Widow (1932)
Steichen the Photographer (1929)
The American Songbag (1927)
The New American Songbag (1950)

Cahoots

Carl Sandburg, 1878 - 1967

Play it across the table.
What if we steal this city blind?
If they want any thing let 'em nail it down.

Harness bulls, dicks, front office men,
And the high goats up on the bench,
Ain't they all in cahoots?
Ain't it fifty-fifty all down the line,
Petemen, dips, boosters, stick-ups and guns—
        what's to hinder?

        Go fifty-fifty.
If they nail you call in a mouthpiece.
Fix it, you gazump, you slant-head, fix it.
        Feed 'em. . . .

Nothin' ever sticks to my fingers, nah, nah,
        nothin' like that,
But there ain't no law we got to wear mittens—
        huh—is there?
Mittens, that's a good one—mittens!
There oughta be a law everybody wear mittens.

This poem is in the public domain.

This poem appeared in Poem-A-Day on March 24, 2013. Browse the Poem-A-Day archive.

This poem is in the public domain.

This poem appeared in Poem-A-Day on March 24, 2013. Browse the Poem-A-Day archive.

Carl Sandburg

Carl Sandburg

Carl Sandburg was awarded three Pulitzer Prizes in his lifetime—the first in 1919 for his poetry collection Corn Huskers, the second in 1940 for his biography Abraham Lincoln: The War Years, and the third in 1951 for Complete Poems.

by this poet

poem
I cried over beautiful things knowing no beautiful thing lasts.

The field of cornflower yellow is a scarf at the neck of the copper sunburned woman, 
       the mother of the year, the taker of seeds.

The northwest wind comes and the yellow is torn full of holes, new beautiful things 
       come in the first
poem
I. CHICKENS

I am The Great White Way of the city:  
When you ask what is my desire, I answer:  
"Girls fresh as country wild flowers,  
With young faces tired of the cows and barns,  
Eager in their eyes as the dawn to find my mysteries,
Slender supple girls with shapely legs,  
Lure in the arch of their little
poem

There is a wolf in me … fangs pointed for tearing gashes … a red tongue for raw meat … and the hot lapping of blood—I keep this wolf because the wilderness gave it to me and the wilderness will not let it go.

There is a fox in me … a silver-gray fox … I sniff and guess … I pick things out of the wind and air