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George Sterling

George Sterling (December 1, 1869 – November 17, 1926) was an American writer based in the San Francisco, California Bay Area and Carmel-by-the-Sea. He was considered a prominent poet and playwright and proponent of Bohemianism during the first quarter of the twentieth century. His work was admired by writers as diverse as Ambrose Bierce, Robinson Jeffers, Jack London, Upton Sinclair, Theodore Dreiser, Sinclair Lewis, and Clark Ashton Smith. In addition, Sterling played a major role in the growth of the California cities of Oakland, Piedmont, and Carmel-by-the-Sea.

Literary career and critical responses
During George Sterling’s thirty-year career as a writer, he wrote songs, plays, movies, short stories, essays, and more than a thousand poems. His works were published in nearly all American literary magazines, in more than a hundred newspapers, in anthologies, and in his own books. He earned several literary awards.

Although some critics of his time dismissed Sterling’s poems (In Freeman magazine, poet John Gould Fletcher called him “a versifier lavishing his craft on subjects beneath the dignity of a true poet”), other media reviewers regarded Sterling’s works highly (Atlanta Constitution: “There is no doubt at all about the genius of George Sterling”; New York Times: “[Ambrose] Bierce has been hailing Mr. Sterling for some years past as the greatest poet on this side of the Atlantic … Mr. Bierce’s hail seems likely to be justified”). Sterling’s works were admired by such prominent writers as Jack London (“the greatest living poet in the United States”), Upton Sinclair (“His work possess the qualities of the greatest poetry: sublimity of thought, intensity of emotion, enchanting melody, and severe and reverent workmanship”), Theodore Dreiser (“The ranking American poet, greater than any we have thus far produced”), and H. L. Mencken (“He was one of our greatest poets. … I had tremendous respect for his work and an admiration for his style”).

Sterling wrote about a vast variety of topics in different poetic styles that evolved throughout his writing career.

Poet in training, 1896-1901
At age 26, San Francisco business executive George Sterling became obsessed with a new passion. He wanted to write serious poetry inspired by his poetic heroes such as John Keats and Edgar Allan Poe. Sterling wrote his first poems after his February 1896 marriage. He knew eminent literary critic Ambrose Bierce and asked permission to send him poems for evaluation. Bierce replied: “Of course you may send me verses—a bellyful if you like.” Sterling mailed Bierce dozens of poems and Bierce replied with detailed, precise comments.

Bierce appreciated one Sterling poem enough to include it in his February 21, 1897 San Francisco Examiner column. The poem, “Farewell,” reflected on a dead friend’s passing and the absence or presence of an afterlife. It was Sterling’s first appearance in print. For the next thirteen years Bierce continued to review and comment on Sterling’s poems, teaching his protégé poetic skills and shaping his artistic preferences. Between 1897 and 1901, Sterling wrote many poems but, usually dissatisfied, let only a handful become published.

Bierce’s protégé, 1901-1910
On April 11, 1901, Sterling mailed a new poem titled “Memorial Day, 1901” to Bierce for criticism. His mentor responded, “It is great—great!—the loftiest note that you have struck and held.” Bierce arranged for the Washington Post to publish the poem and wrote a preface explaining that though Sterling was a new poet, “he has written a considerable body of verse. Not all of it has the strength, fire, and elevation of the remarkable poem printed here, but none has been delinquent in the matter of ‘that something other than the sense’ which distinguishes poetry from mere verse. George Sterling is a poet, and a great one—one may safely stake on that all the reputation for literary judgment that one may hope to have.” The appearance of “Memorial Day, 1901” in the Washington Post was Sterling’s first publication of a major poem. It marked his entry into a new stage of development as a writer. After five years writing practice poems, Sterling at age 31 determined to become a writer of serious, elevated verse.

Sterling loved astronomy because “my dear dead father was greatly interested in it, and I’ve spent many hours on the house-top with him and his telescope.” He marveled at planets, stars, and galaxies—apparently resting in peace but actually slowly and endlessly colliding with and destroying each other. Sometime after December 16, 1901, Sterling began a long poem depicting the galaxies and stars of “the stellar universe at strife, when to the eye it is a symbol of such peace and changelessness … It surely is a war if the cosmic processes are viewed as a whole.” The long poem, “The Testimony of the Suns,” is a lengthy astronomical poem that combines elements of science, fantasy, science fiction, and philosophy. Literary historian S. T. Joshi called it Sterling’s “longest poem and one of his greatest.”

The unusual poem was too long for magazines and was rejected by book publishers, so in 1903 Sterling self-published it in his first book, The Testimony of the Suns and Other Poems. When his book was released, Sterling’s poems had been published in newspapers and magazines for seven years, but “The Testimony of the Suns” marked the first time Sterling’s poetry attracted nationwide attention from critics. The New York Times said Sterling’s poetry has “the note of character that promises permanence.” Book News Monthly said his book “in every part rings true to the nature of man. The poems are often of great lyrical beauty and always have some music to them.” Impressions Quarterly began its review: “A poet of the first magnitude has risen.” “There is no doubt at all about the genius of George Sterling,” proclaimed the Atlanta Constitution. The critical success of “The Testimony of the Suns” established Sterling’s career as a poet.

On August 18, 1905 Sterling and his wife Carrie moved from Piedmont, California to Carmel-by-the-Sea. In December the Bohemian Club asked Sterling to write a play for its 1906 Midsummer Jinks. Sterling wrote the first half in one day. By December 17, he had almost finished a first draft of his entire verse play. He took it to the Bohemian Club members responsible for the Jinks. After months of extensive changes, they agreed to stage Sterling’s fantasy as the Club’s 1906 summer presentation. However, in 1906 everything changed. The April 18, 1906 San Francisco earthquake and fire burned Alexander Robertson’s bookstore to the ground. All but 200 copies of the second edition of The Testimony of the Suns and Other Poems were destroyed.

Earthquake destruction meant the Bohemian Club could not prepare Sterling’s play The Triumph of Bohemia: A Forest Play, so the Club postponed it a year to the night of July 27, 1907. That night after dark about 600 Bohemian Club members gathered on log benches in Bohemian Grove, the Club’s private redwood forest. Slowly, stage lights imitating moonbeams faded in, causing figures on the Grove’s large stage to become discernible as sleeping tree-spirits. The play’s story pitted tree-spirits and their trees against the efforts of winds, time, fire, lumberjacks, and Mammon (greed) to destroy their forest. The trees are saved by an immense owl—the mascot of the Bohemian Club—and by the Spirit of Bohemia. The Bohemian Club printed copies of The Triumph of Bohemia for its members. “The climax of this year’s play left the audience in an awed silence which most playwrights would give years of their lives to win from a professional audience,” enthused a two-page review in Collier’s: The National Weekly.” The New York Times reported: “The people who saw it described it as being wonderful beyond words.”

In January 1904, Sterling had sent Bierce another long poem, “A Wine of Wizardry.” When Bierce read the poem, he thrilled: “And the poem! I hardly know how to speak of it. No poem in English of equal length has so bewildering a wealth of imagination. Not Spenser himself has flung such a profusion of pearls into so small a casket. Why, man, it takes away the breath!” When “A Wine of Wizardry” was first published in Cosmopolitan magazine in 1907 with an afterword by Bierce it stimulated a nationwide controversy. It was both critically praised and condemned. The poem was reprinted in Sterling's 1908 collection A Wine of Wizardry and Other Poems. It was reprinted again several times, and has been imitated and parodied by many writers. The poem inspired Clark Ashton Smith to become a poet and influenced other writers as well.

By late 1907, Sterling was notorious due to the “Wine of Wizardry” furor, so he found it easier to sell his verses to magazines. Leading national magazines such as The American Magazine, Bookman, Century Magazine, Current Literature, Literary Digest, and McClure's bought his poems. Dozens of newspapers reprinted his verses.

“More human” poems and first fiction, 1910-1916
In 1910 and 1911, Sterling began to consciously evolve his style and subjects. “I’m trying to become somewhat more human [in poetry]!” he wrote to poet Witter Bynner “It’s not so easy as I had fifteen years’ start [1896-1910] in the wrong direction.”

In 1911, Alexander Robertson published Sterling’s third collection of verses, The House of Orchids and Other Poems. It sold more copies than his prior two volumes, and also generated his best reviews to date. The New York Times said: “In his new book … Mr. Sterling has added to his earlier unusual qualities of imagination and of expression the restraint needed to make them truly effective. … One could quote from it an hundred lines of exceptional beauty. … Mr. Bierce has been hailing Mr. Sterling for some years past as the greatest poet on this side of the Atlantic. Mr. Bierce’s hail seems likely to be justified.” The Los Angeles Times: “The undeniable merits of the majority of the poems in The House of Orchids make the book an important addition to America’s modern poetic literature. Sterling has a rare perception of that thing which we call Beauty. And he possesses, also, the literary sense which results in that inevitable just-a-position of words which no amount of study can bring about, and which always distinguishes the genius from the philistine.”

“The Black Vulture,” a sonnet from The House of Orchids, was cited by Thomas E. Benediktsson in his book George Sterling as "a sonnet which became Sterling’s most consistently praised and most anthologized poem." Poet and critic William Rose Benét wrote: “As for ‘The Black Vulture,’ I think it is one of the finest sonnets in the language.” The New York Times said: “No finer sonnet has been written for many a day.” In American Literature, professor Robert G. Berkelman called it “one of Sterling’s most enduring achievements and certainly among the memorable sonnets in our literature.” After the poem’s first book publication in 1911, reprints of “The Black Vulture” in newspapers, magazines, and books have kept it almost continually in print for more than a hundred years.

The years 1912 and 1913 saw a burst of productivity from Sterling. His poems appeared in national publications American Magazine, Bookman, Century, Current Opinion, Everybody’s Magazine, Harper’s Monthly, Hearst’s International, North American Review, Saturday Evening Post, and other magazines, and were reprinted by the Washington Post and other newspapers across the country. In 1912 a nationwide contest had been announced, offering large cash prizes for what judges chose as the three best poems published in a newspaper or magazine during 1912 but not published in any book. Sterling submitted an ode to Robert Browning, and out of hundreds of poets who entered, won second place. He received a cash award of almost $8,000 in today’s money. Even with many sales of his verses, Sterling was dissatisfied by how little money his poems earned. In January 1913 he began writing short fiction. “Finished my first short-story, ‘Mr. Easton & the Dryad!’” he wrote in his diary.

Meanwhile, Sterling sold his poetry for the first time to the prestigious magazine The Smart Set, one of the most irreverent and influential literary magazines of its time. The Smart Set’s prominence grew thanks to its two editors, H. L. Mencken and George Jean Nathan. Mencken, first as editor of Smart Set and later of American Mercury, became Sterling’s best customer, buying more of his poetry and prose than any other editor. Mencken became much more than just a buyer to Sterling; the two men would be frequent pen pals, they would visit in person in New York and San Francisco, and Mencken would be indirectly involved in Sterling’s suicide.

Harmon Bell, the founding president of the Oakland Commercial Club, conceived of a joint task force linking all industries and city governments around the entire San Francisco Bay to attract businesses to the Bay Area. Bell persuaded 400 leading businessmen and politicians from all major Bay Area cities to gather at a banquet announcing his new organization. He wanted the event to rouse and enthuse his attendees. Henry Anderson Lafler and George Sterling were hired to write an inspiring musical play. At Bell’s banquet the night of April 7, 1913, their A Masque of the Cities was performed and by all accounts was a success. Newspapers gave glowing reviews. Four papers printed the play. A Masque of the Cities was also printed using handset type on handmade paper as a keepsake edition.

The next month, Sterling scored a quieter triumph. His poem “Willy Pitcher” appeared in the June issue of Atlantic Monthly, America’s most prestigious magazine.

Sterling wanted to write fiction about prehistoric people. He created two Stone-Age characters, a boy and a girl. He introduced them as 10-year-old cave kids, then worked them through a series of six stories as they grew into a young man and woman. “Their adventures are more interesting and better told than [Edgar Rice] Burroughs, and more believable, too. All are good,” proclaimed Fantasy Commentator. Sterling spiced paragraphs with the rhythms and vividness of verse: “Then silence leaped in upon sound like water above a cast pebble, and the forest resumed its dream.” He finished his six stories and mailed his prehistoric series to magazine publishers. Most turned down his cavekids tales. Sterling could sell them only to Popular Magazine, a pulp fiction “rag.” The series title was Babes in the Wood. It was the only longer piece of fiction by Sterling ever published.

At the end of 1913, critic William Stanley Braithwaite named Sterling’s “Night Sentries” one of the best poems of the year.

Because Carrie Sterling divorced him, Sterling left Carmel, California on April 13, 1914 and moved to New York City. He hoped to sell poems and stories to New York publishers. He met a few friends in New York, but did not sell many poems or stories. On May 30, he moved to Sag Harbor, New York for the summer, writing either a thousand words of fiction or a complete poem every morning and swimming most afternoons. Writer James Hopper lined Sterling up with a literary agent to sell his fiction.

While Sterling visited Sag Harbor, Alexander Robertson published his newest book, Beyond the Breakers and Other Poems. The Los Angeles Times stated: “There is strength as well as grace in his verse, a richness of metaphor and simile, and seldom a weak line—never a careless one. His blank verse has no equal among his contemporaries.” Poet Joyce Kilmer, in Literary Digest, decided: “By writing ‘[A] Wine of Wizardry’ and ‘The Black Vulture,’ George Sterling earned the gratitude of all lovers of poetry. And unlike most poets who suddenly become famous, he has steadily gained power. His new book, Beyond the Breakers and Other Poems, is better than any of the three distinguished volumes that preceded it.” The New York Times differed: “Beyond the Breakers does not contain so much verse of unusual beauty as his previous volume, [The] House of Orchids, but it maintains a high average.”

In February 1914 Sterling had written a short play, The Flight, for Bay Area social club the Family to present in the summer. When the members of the Family club held their annual summer gathering, Sterling’s The Flight, with music by Cass Downing, was a high point. “So enthusiastic were the clubmen over this little drama that they immediately wired to Sterling at Sag Harbor, Long Island, informing him in all sincerity that it was the most beautiful play that had ever been given in the club’s history.”

In autumn Sterling moved from Sag Harbor back to New York City with about 75 newly-written poems (most about the Great War) and fifteen stories. He sold a few to magazines, but only for low prices. In spite of Sterling knocking on New York editors’ doors during 1914, the national magazines that bought his poems were mostly publications he’d already sold to in prior years. Sterling’s lack of an established reputation with East Coast editors crippled his ability to sell to other magazines. His new year looked bleak in New York.

In San Francisco, however, the new year made most people feel eager. Their biggest anticipation was the 1915 World’s Fair, which would be held in the city to celebrate both the Panama Canal’s opening and San Francisco’s recovery from the 1906 earthquake and fire. The Panama-Pacific International Exposition was scheduled to begin February 20, 1915. That January, the San Francisco Examiner commissioned Sterling to write an ode commemorating the opening of the exposition. Sterling’s long poem was printed in the Examiner, read at the exposition’s opening ceremony, excerpted by magazines and books, and in November, published by Alexander Robertson as a 525-copy hardcover limited edition on handmade paper. The Examiner paid Sterling the equivalent of $4,100 for his ode, more than he earned from his entire summer of work in New York. Sterling missed California and his family and friends there. On April 15, 1915, he left New York City to return to San Francisco, arriving May 1.

In July Sterling wrote a long poem about Yosemite National Park and sold it to the San Francisco Call and Post. In October, Alexander Robertson published Yosemite: An Ode as a book.

That month Sterling wrote his second poem about the Panama-Pacific International Exposition. This time he described the beauty of the fair’s buildings at sunset and reflected how such temporary glory will quickly fade. Sunset magazine printed his poem. Alexander Robertson rushed a book version into print in December, in time for the Exposition’s last few days. The Evanescent City sold out its 4,000-copy first printing as well as a 1,000-copy second printing, one of the two best-selling volumes Sterling ever wrote. With Sterling focusing in 1915 on his Californian successes, he sold poems to only nine national magazines that year.

Playwright poet, 1916-1921
Sterling’s fifth collection of poetry, The Caged Eagle and Other Poems, was published in July 1916 by A. M. Robertson. His new poetry collection was not reviewed as widely as his prior books. The most passionate review came from William Stanley Braithwaite in the Boston Evening Transcript: “However he may express himself in strictly conventionalized forms, they do not seem to impede the really immense scope of his imagination. … it is of particular importance to note that his whole spiritual temper is made significant by the unusual quality this large power has upon his nature. I seem to feel this subtle sense of largeness, it may be spirit or vision or dream, in all that Mr. Sterling writes.” Elsewhere in Boston, the Transcript’s competitor the Boston Post was more matter-of-fact: “In The Caged Eagle and Other Poems, George Sterling, a deservedly well known California poet, is certain to gratify those who have had the good fortune to read his earlier volumes. And the 50 poems on the war, all but one of them sonnets, will insure him a welcome to many new readers, although they will not endear him to German-Americans.” The most unexpected review of The Caged Eagle and Other Poems came from former U.S. president Theodore Roosevelt, who on July 14, excited by the book’s pro-war poems, wrote a letter to Sterling beginning: “Three cheers for the unneutral sonnets!”

1916 was a good year for Sterling in terms of the quantity of national magazines publishing his poetry: Ainslee’s, Art World, Bellman, Bookman, Collier’s, Current Opinion, Harper’s Monthly, Literary Digest, McClure’s, Munsey’s, Pearson’s, Poetry Journal, even the staid Scribner’s. The last days of 1916 saw a different kind of Sterling publication: a songbook Songs by George Sterling had music by Lawrence Zenda. Zenda was the pen name of Mrs. Rosaliene Reed Travis, one of Sterling’s lovers.

When Songs was published, Sterling was in Los Angeles working on a play. The Play of Everyman is his adaptation of Austrian writer Hugo von Hofmannsthal's German play Jedermann. Lavish productions of Sterling’s The Play of Everyman in 1917 and 1936 were acclaimed by critics and boosted the careers of people involved. Sterling's adaptation was also staged in 1941 in New York City.

For months Sterling had called for the United States to join the Great War to support the Allies. Congress voted for the U.S. to enter World War I on April 6, 1917. Sterling joined a pro-war group of writers called the Vigilantes, pledging to write pieces to support Allied efforts. At Alexander Robertson’s request, Sterling gathered 28 of his war poems for a new book, The Binding of the Beast and Other War Verse. It was published in time for Christmas 1917. Sterling warned Clark Ashton Smith: “My little book of war-verse is out … it’s verse and not poetry.”

At the end of 1917, Sterling’s poem “The Glass of Time,” about reflections in a lake at Jack London’s Beauty Ranch, was chosen one of the best poems of the year.

Back in 1916, Bohemian Club managers had told Sterling they wanted him to write the Club’s grove play for 1918. In early 1918 he finished the play’s song lyrics. The name of Sterling’s anti-dictatorship musical drama was The Twilight of the Kings (with Richard Hotaling and [uncredited] Porter Garnett; music by Wallace A. Sabin). It was a science fiction allegory of World War I, but set in medieval times, with a prince inventing the superweapon gunpowder and suffering its consequences. As with other Bohemian Club Jinks spectacles, the full play was performed only once, on August 3, 1918. The magazine Musical America called it “a play affording broadly laid out and well characterized scenes, and … dignified and often impressive literary expression. The lyrics of the play … are by that conjurer of the beautiful, George Sterling … A ‘Peace Song,’ sung by one of the princes in the play, recommended itself very particularly; it is one of the choicest moments of the work.” Musical America’s national competitor Musical Courier agreed “the play has much literary value. As to the dramatic side, it is in many passages splendid. … This is a deeply impressive prophetic drama.” The other national magazine for professional musicians, Musical Leader, concluded its review: “The sentiment expressed in the masque and its pictureful presentation made this one of the banner years in the history of the club.” On August 15, The Twilight of the Kings was staged in a concert version in San Francisco, with actor Richard Hotaling narrating the action and reading dialog, and professional singers performing the songs. “Jerome Uhl [a bass-baritone with New York’s Metropolitan Opera] made a tremendous hit performing the drinking song,” reported Musical Courier. The audience stopped the performance with applause and cheering and made Uhl sing the song again.

Sterling wrote Lilith: A Dramatic Poem, a four-act fantasy verse drama from 1904 to 1918. The play was first published in 1919. Influential critic H. L. Mencken said of Sterling: “I think his dramatic poem Lilith was the greatest thing he ever wrote.” The New York Times declared Lilith “the finest thing in poetic drama yet done in America and one of the finest poetic dramas yet written in English.” Author Theodore Dreiser said: “It rings richer in thought than any American dramatic poem with which I am familiar.” Poet Clark Ashton Smith wrote: “Lilith is certainly the best dramatic poem in English since the days of Swinburne and Browning. … The lyrics interspersed throughout the drama are as beautiful as any by the Elizabethans.” In his book George Sterling, Thomas E. Benediktsson stated: “The allegorical Lilith is undoubtedly Sterling’s best poem.”

On March 23, 1920, Sterling announced he had finished the first draft of a historical play, Rosamund. He finished the final draft on April 15, telling H. L. Mencken, “I’ve finished my dramatic poem, Rosamund. It contains one rape and four murders—quite Shakespearean.” Sterling found Princess Rosamund’s story in chapter 45 of The Decline and Fall of the Roman Empire by Edward Gibbons. In 567 A.D., Alboin, king of the Lombards, killed the Gepid king Cunimund. King Alboin raped Cunimund’s daughter Princess Rosamund, then forced her to marry him and become his queen. In 572 A.D., Queen Rosamund avenged her father by assassinating her husband King Alboin. Sterling self-published 500 numbered, hand-signed copies of Rosamund: A Dramatic Poem. The Oakland Tribune summed it up: “The story of the princess who was thrown into a world of fighting and lustful men, who was most grievously wronged and who became thereafter an avenger who used her beauty and her love as her weapons, is one that is filled with intense dramatic possibility and as told by Sterling has a tremendous emotional appeal, a noble rhythm, and a tragic atmosphere comparable to that of Macbeth. ” After reading the play, Clark Ashton Smith wrote to Sterling: “My congratulations on Rosamund! As you warned me, it lacks the poetic beauty of Lilith; but nevertheless, it is a great drama. What action! It should make a tremendous ‘film’, if you don’t mind my saying so; I don’t mean that as a slam, in any sense.”

Outside of Rosamund, Sterling had little published in 1920. That year, just four national magazines printed his poems. However, a local newspaper poem was a hit. Sterling’s “The Cool, Grey City of Love (San Francisco),” gave San Francisco its most popular nickname. The poem was reprinted many times, both in publications and as stand-alone collectables.

Simple, clear poems, 1921-1926
As if to make up for his scant 1920 output, during 1921 Sterling placed 15 poems in seven national magazines. The poems he wrote in 1921 rarely used old-fashioned words such as “thee” or “thou” to sound “poetical” as many of his earlier poems did; instead, most of his new poems used only contemporary words. In June Sterling’s poem To a Girl Dancing was published as a limited edition of 120 elegantly designed hardcover books by the Grabhorn Press, one of the most esteemed fine presses in America. That September Sterling accomplished an unusual literary feat: Charles Brennan, a defense attorney for movie star Roscoe “Fatty” Arbuckle’s rape and murder trial, hired Sterling to “prepare the epigrams for the speech of defense.”

Alexander Robertson published Sterling’s newest collection of poems in December 1921: Sails and Mirage and Other Poems. Of the 61 poems in this anthology, only 22 were new in 1921. The majority were older. Differences in Sterling’s newer poems were noticed by some reviewers. The New York Tribune pointed out: “In Sails and Mirage, I believe, we have Sterling’s choicest work; certainly his most keenly human. … Sterling in the past was too prone, one feels, to hurl suns and meteors and satellites about his finely-chiseled Dantesque head. … This gesture in the grand manner is in Sails and Mirage admirably subdued, and Sterling’s genuine gift for lyricism … issues forth with a pleasing klang for the sensitive ear and the active imagination.” In the New York Evening Post, poet William Rose Benet remarked on the tenderness and wistfulness of the poems, different from Sterling’s earlier echoes of Milton’s “mighty line.” Bookman, a leading publication for the book business, called Sterling’s book “an uncanny, bitter, and very touching conflict between passionate longing for beauty and angry resentment at the ugliness of life.” Sterling himself thought he still had a way to go to make his poems feel modern. Of Sails and Mirage and Other Poems, he said: “It’s my best book, but almost as mid-Victorian as the others!”

Sterling’s two major literary accomplishments of 1922 were both editorial projects. He began work on the first project in January, a book for the Book Club of California: The Letters of Ambrose Bierce. He selected the book’s contents. He reviewed each letter and deleted unfavorable references to living people and passages he felt made Bierce look bad. He helped the Book Club’s secretary, Bertha Clark Pope write an introduction, and himself wrote “A Memoir of Ambrose Bierce” for the book. Sterling proofread the galleys and the printer’s proofs, keeping involved through September. Sterling often gave credit for his own work to someone else, and here gave Bertha Pope sole credit as editor, keeping his name only as author of “A Memoir.” H. L. Mencken reviewed the book' in Smart Set as “the most important contribution to Bierceiana made since Bierce’s death. The letters are well selected, and Sterling’s memoir and Mrs. Pope’s introduction are very well turned out.” Thirty-six years later, historian David Magee called The Letters of Ambrose Bierce “A most ambitious project and, aside from Cowan’s Bibliography [of the History of California and the Pacific West], the most important publication in the [Book] Club’s first decade.”

Sterling’s second 1922 editorial project was his own book, Selected Poems. New York publisher Henry Holt and Company told Sterling the company wanted to publish a collection of Sterling’s poetry. He went through five of his earlier books and selected 56 poems. He made more than a hundred changes to the texts of the poems. Many were modernizations; he changed “thy” to ”your,” “thine” to “yours,” “thou art” to “you are,” and “hath” to “had” or “has.” Critic Harriet Monroe had complained Sterling’s use of “deems” was “the frippery of a by-gone fashion.” Sterling now replaced “deems” with “thinks” or “dreams.” These changes echo the contemporary vocabulary of Sterling’s new poems, and the advice he currently gave his protégés, such as telling poet Clark Ashton Smith to avoid the word “enfraught” because it “seems too artificial,” and to revise a phrase because it “sounds forced, obscure, and unnatural.” Sterling sent Henry Holt and Company the manuscript of Selected Poems in May.

During 1922, Sterling’s poem “Pumas” attracted notable responses. “Pumas” was first published in the New York Evening Post Literary Review, then reprinted in the national magazine Literary Digest, (which said: “Sterling is California’s leading poet, and judged by this his leadership extends much wider”), next reprinted in another national magazine, and finally selected by an anthology editor as one of the best poems of the year.

The Bookfellows, a Chicago-based national organization of 3,000 booklovers and authors, announced April 28, 1923 Sterling’s sonnet “Shelley at Spezia” had won the association’s Kemnitz Prize for the best poem of the year.

The next month Sterling’s Selected Poems was published. It contained mostly his older poems. Reviews were mixed. The New York Times said Selected Poems “contains a deal of beautiful albeit classical work. Some of it, to be sure, is on the cosmic order, but even here when Mr. Sterling is good he is very, very good. … Mr. Sterling is particularly successful in the sonnet form and one has only to note ‘The Dust Dethroned’ (which fairly claims consideration with Shelley’s ‘Ozymandias’) and ‘The Black Vulture’ to see how surely the poet handles this difficult form. His poems in regular forms often touch a real beauty, but the book taken as a whole fails really to stir the reader. Perhaps one reason for this is that Mr. Sterling is rather out of touch with his time.” Outlook magazine disagreed: “It is poetry ‘in the grand manner,’ concerned with life and death and destiny and the mystery of the universe. … In profuse imagination and profound music George Sterling’s poetry is always richly endowed, and his followers will find in this volume poems that have won a place for themselves with these qualities.” The New York Evening Post decided: “he sings best of the sea and of the stars. ‘Beyond the Breakers’ is a swimmer’s poem as thrilling as one of Swinburne’s. ‘Aldebaran at Dusk’ is wholly beautiful.” In Ontario, Canada, the Border Cities Star said: “Only a few of these poems are excellent, but they alone, by their compression, form, and harmony, justify the collection.” Poet John Gould Fletcher wrote a long negative review in Freeman magazine: “Mr. Sterling, at his best in certain sonnets, and in his overpretentious “Testimony of the Suns,” is about as good as de Heredia or Fitzgerald: that is to say, a minor Frenchman or a minor Englishman. At his worst, in “A Wine of Wizardry,” he is sheer drivel: “Endymion” or “The Witch of Atlas” gone to pieces.” Fletcher concluded that what “Keats saw, Mr. Sterling can not see, and therefore he has remained purblind—a versifier lavishing his craft on subjects beneath the dignity of a true poet.” Poetry: A Magazine of Verse ran a one-sentence dismissal ending: “his talent has been overshadowed by latecomers.”

By June 1923 Sterling was working on another editing project: The Book Club of California recruited him to join poets Genevieve Taggard and James Rorty to collect an anthology of poems from California’s best living poets. Work on the anthology would occupy Sterling’s time for more than a year.

Sterling wrote Truth, a verse drama telling a fantasy set in the imaginary medieval city of Vae, in 1921 and 1922. Chicago-based Bookfellows published Truth in 1923. Half a century later literary historian Thomas E. Benediktsson ranked Truth as “one of Sterling's finest works.”

Sterling’s two poems “The Fog-Sea” and “The Young Witch – 1698” were both selected to appear in The Best Poems of 1923.

Sterling began 1924 in Hollywood, working on a project for movie star Douglas Fairbanks, who produced his own movies. In those days movies were silent, so words spoken by characters were conveyed to audiences by titles on the screen. Fairbanks was producing and starring in the spectacular action-fantasy The Thief of Bagdad, and wanted Sterling to write more than 200 titles for the three-hour film. “I get $25. a day (about $750 a day in today’s dollars) and my fare to and from S.F. Not bad for a poor poet,” crowed Sterling. “I have luncheon ‘on the lot’ daily with Fairbanks and his wife (Mary Pickford),” then the world’s most popular movie actress. Sterling also signed a contract with Fairbanks’ company to create a book of songs about The Thief of Bagdad, to be sold in movie theaters showing the movie. Sterling wrote lyrics (telling a newspaper reporter “the public likes them mushy”) and composer Mortimer Wilson wrote music, but no songbooks were printed.

Afterwards Sterling returned to work on the Book Club of California’s poetry anthology. Among other tasks, he wrote an introduction, “From One Foothill,” his defense of what he loved about poetry.

In 1924, fourteen Sterling poems were published in eleven national magazines. In addition, his poems were published in dozens of newspapers. That year Sterling’s poem “The Flight” was named best narrative poem of the past year by Lyric West magazine, which awarded Sterling a cash prize of $100 (about $3,000 in today’s money).

In 1925, the Book Club of California published Continent’s End: An Anthology of Contemporary California Poets, which Sterling had edited with Genevieve Taggard and James Rorty. Thirty-three years later, historian David Magee wrote: “Continent’s End is a real contribution to California literature. It represents the best of the younger poets of the day, such as Robinson Jeffers, who might not otherwise have found a hearing for their poems.” That year Sterling became poetry editor, book reviewer, and columnist for the magazine Overland Monthly. He used his position to promote several younger poets, beginning his first monthly column by praising Jeffers and Clark Ashton Smith.

During 1925 Sterling had more than 25 new poems published, seventeen of them in fourteen national magazines. One key poem Sterling wrote in 1925 was not published until 1926. He spent months writing his long poem “The Pathfinders” in free verse—an unusual choice for Sterling, who had hated free verse poetry until he read and loved Robinson Jeffers’ free verse. Sterling sent “The Pathfinders” to H. L. Mencken, writing “This is probably the best thing I ever wrote, and I’m sending it to you first, hoping you’ll like it.” Mencken responded enthusiastically: “I think you are quite right. ‘The Pathfinders’ is an eloquent and excellent piece of writing and I shall put it into type at once.” When American Mercury published the poem, Sterling received a letter from Edgar Lee Masters, who after the publication of his best-selling book Spoon River Anthology had become one of America’s best-known poets. Masters said: “Last night I got a Mercury and read your poem ‘The Pathfinders.’ It is superb. It is a great symphony. … Such lines as these are of imagination all compact … The last line is a peak. I congratulate you most heartily.”

Sterling’s biggest production in 1926 was a play. He completely rewrote his 1923 play Truth, transforming it into the Bohemian Club’s summer 1926 stage spectacle. Its cast of 173 actors and extras, 27 dancers, and a choir of about thirty boy singers from Grace Cathedral, filled Bohemian Grove’s mammoth stage. 58 San Francisco Symphony musicians performed music written and conducted by Domenico Brescia.

Posthumously published works
When Sterling died November 17, 1926, he left behind many uncollected or unpublished works: dozens of essays, “seventy-odd short stories,” and hundreds of poems most readers had never seen.

Sterling’s first posthumous book was at the publishers when he died. Knopf published Sterling’s Robinson Jeffers: The Man and the Artist—the first book about poet Jeffers—in December, 1926, days after Sterling’s death. The Occidental College Library’s online exhibit on Jeffers says: “George Sterling's book launched Jeffers career as a popular poet. This book represented the passing of the unofficial position of California's leading poet from Sterling to the young Jeffers.”

Two years later, author Upton Sinclair published Sonnets to Craig, a collection of 102 poems Sterling had written in 1911-1912 to Sinclair’s wife, the writer Mary Craig Sinclair. That same year 1928, a new edition of Songs by Sterling and with music by “Lawrence Zenda” (the pseudonym of Sterling’s lover Mrs. Rosaliene Reed Travis) was published with five songs with lyrics by Sterling not in the prior two editions of Songs. Ten years after that, in 1938, Oxford University Press published Poems to Vera, 24 poems Sterling had written in 1910 to Vera Connolly, his young lover in Carmel who later became a “crusading journalist—a stirrer-upper.”

The next year R. H. Barlow gathered 43 of Sterling’s uncollected poems in the anthology After Sunset. All but three of those poems were written from 1921 through 1926, making After Sunset even now 85 years later the only Sterling collection focused on the more modern poems Sterling wrote in his final years. Because After Sunset was published in a tiny quantity by a bookstore lacking resources to publicize the book, few scholars were aware of it. Therefore, literary critics focused on Sterling’s earlier volumes, unconscious of most writings from Sterling’s prolific last six years. Thomas Benediktsson, for his 1980 book George Sterling, did read After Sunset, but mistakenly assumed that that 43-poem collection contained Sterling’s entire “body of uncollected verse,” unaware of more than five hundred additional uncollected poems written by Sterling.

The most important posthumous Sterling publication has been the 2013 three-volume set Complete Poetry, edited by S. T. Joshi and David E. Schultz. The first two volumes present the contents of eleven volumes of Sterling’s poems and six verse dramas, plus notes about almost every poem. The third volume gathers 578 Sterling poems never published in a book before. Despite its title, Complete Poetry does not include all of Sterling’s verse compositions.

Sterling was a prolific and entertaining letter writer. Volumes of letters published to date include the Sterling-H. L Mencken correspondence, the Sterling-Clark Ashton Smith correspondence, and Sterling’s letters to his mentor Ambrose Bierce.

Sag Harbor, New York; Ellicott City, Maryland; and New York City: 1869-1890
George Augustine Sterling III was born December 1, 1869 in Sag Harbor on Long Island, New York. His father, Dr. George Augustine Sterling, Junior, M.D. (1843-1897), was a prosperous, deeply religious physician, the son of an Episcopal minister. The new mother, Mrs. Mary Havens Sterling (1845-1920), was the daughter of Captain Wickham Sayer Havens (1806-1880), a legendary whaler who retired rich and became a banker.

George III was the first of nine Sterling children. His best friend was Roosevelt “Roose” Johnson. Both were athletes—stronger than other boys—and passionate readers. George and Roose led a gang of Sag Harbor boys who called themselves the Night Hawks.

In 1886, George’s father shocked his Episcopal friends by converting to Roman Catholicism. Dr. Sterling wanted his three sons to become Roman Catholic priests, beginning with his oldest. High school graduate George agreed to enter a six-year seminary program at St. Charles College in Maryland. Sterling first seriously studied poetry there when he took an English composition and grammar class taught by Father John Bannister Tabb, a well-known poet. After three years of earning prizes as one of St. Charles’ top students, Sterling decided not to become a priest and dropped out when the school year ended in summer 1889.

Dr. Sterling next pushed his now nineteen-year-old son to become a doctor. He sent George to New York City to study medicine at the College of Physicians and Surgeons (now the graduate medical school of Columbia University). By early 1890, George decided medicine was not for him and came home.

In March 1890, his mother’s brother Frank C. Havens visited Sag Harbor to see his ailing mother Sarah Havens, George’s grandmother. Frank had left Sag Harbor as a boy and roamed the world, ending in San Francisco. There he founded the American Investment Union, its subsidiary the Home Accident Insurance Company of San Francisco, and other corporations. Frank Havens' growing companies needed trustworthy, intelligent employees. His nephew impressed him. Frank offered George an entry-level job, with a chance to work his way up, and gave George a first-class train ticket to Oakland. Sarah Havens died September 22. After her funeral, George took a train to California.

Oakland, California: 1890-1898
Twenty-year-old George Sterling arrived in Oakland, California the night of September 30, 1890. He moved into his uncle Frank’s estate near Oakland, Rosecrest, surrounded by the largest rose gardens in the west. Frank’s four sons lived there; their mother had died four years earlier. At 8:00 the next morning, Sterling reported for work at his first job, clerk in an Oakland bank. By the summer of 1891 he worked his way up to bookkeeper in Havens’ headquarters on Sansome Street in San Francisco.

That year Sterling's Sag Harbor friend Roosevelt Johnson persuaded his father to pay for a train ticket to join Sterling in California. While they lived in Sag Harbor, both men had admired the poems of Californian Joaquin Miller. Now Johnson persuaded Sterling to visit Miller's nearby hilltop estate. There they met the elderly Miller and two young men, Carleton Bierce and Richard Partington, a British painter of portaits and landscapes. Sterling, Bierce, and Partington would remain friends for the rest of Sterling's life, and Sterling would grow closer to Partington's large family than any other except his own Sterling-Havens relatives. In the summer of 1892, on a campout at Lake Temescal Carleton Bierce introduced Sterling to Carleton’s uncle Ambrose Bierce, who four years later would change Sterling's life.

In May 1895, Sterling began the cash book for Frank Havens’ new Real Estate Combine. At its first board meeting on June 4, stockholders (Havens owned all but seven shares) elected Sterling as the new corporation’s Secretary-Treasurer and as a member of its board of directors.

On Sept. 5, 1895, Frank Havens incorporated a master holding company, the Realty Syndicate. The Syndicate was two-thirds owned by Francis Marion Smith and one-third by Havens, but Havens was president and ran the new corporation. George Sterling was one of the Realty Syndicate’s seven founding directors. The plan was for their new enterprise to build roads and public transit to the thousands of acres of raw land Havens, Smith, and their companies already owned, then sell tracts both to the public and to subdivision developers. The Realty Syndicate could provide financing to the developers to buy the land, and then finance their buyers’ development: building the streets, sidewalks, streetcar lines, electricity lines, water mains, sewers, and houses to create saleable neighborhoods. It would also finance individual homebuyers’ purchases of finished houses, and provide loans to any would-be-homeowner who bought a one-house lot if they wanted to build a home of their own. Sometimes the Realty Syndicate would develop subdivision neighborhoods itself, either selling ready-to-build lots or building homes on them. But the Syndicate’s main goals were to sell large tracts of land and to finance those purchases—all on a massive scale.

On February 7, 1896, Sterling married his private stenographer, Caroline "Carrie" Eugenie Rand. The bride's matron of honor was Richard Partington's little sister' Katie Partington Peterson, and the groom's best man was her husband, Fred Peterson. The newlyweds moved into a rented house at 1081 East 23rd Street in Oakland. Sterling's father was seriously ill. Dr. Sterling sold his family home in Sag Harbor to Frank Havens and moved cross-country with George's mother and six sisters into Havens' Rosecrest estate.

For weeks in 1897, George, his mother, and his six sisters watched his father writhe and scream in agony despite opiate painkillers. March 8, 1897, fifteen days after George’s first poem was published, he was in his father’s bedroom at Rosecrest while the doctor died from a “stomach disorder,” actually stomach cancer or an ulcerated stomach or both problems together. The effect of seeing his father tortured by intense, long-lasting physical pain—and the emotional agony suffered by his sisters and especially his mother—scarred George for life.

After Dr. Sterling died, his widow Mary (Frank Havens’ sister) and her six daughters still lived at Havens’ Rosecrest estate. Havens hired architect-builder W. Kirk to create a seven-room colonial-style home for them on a lot Havens owned in the unincorporated Piedmont Heights district. He would own the house, but Mary and her girls could live there rent-free.

As soon as her new home was built, Mrs. Mary Havens Sterling and the six Sterling sisters moved out of Frank Havens’ Rosecrest estate and into their new home in Piedmont at 2083 Oakland Avenue. They weren’t the only ones who moved from Rosecrest to Piedmont: In November, Havens sold his Rosecrest estate and moved to Piedmont.

Piedmont, California: 1898-1905
In 1898, George and Carrie moved from Oakland to Piedmont to be closer to his mother and sisters. First the couple moved in with Frank and Lila Havens, four blocks from Mary Sterling and her daughters. Then George and Carrie rented a house even closer, at 2010 Oakland Avenue, across the street from the Sterling women. Before May 10, 1901, George and Carrie bought their Piedmont home from their landlord. They were now homeowners.

In 1901 Sterling's first major poem was published in the Washington Post and he met struggling writer Jack London, who became his best friend. When London met him, Sterling was the corporate secretary of both the Real Estate Combine and the Piedmont Development Company, the auditor of the Realty Syndicate, and a member of the boards of directors of the Realty Syndicate, the Oakland Transit Company and other corporations. London couldn’t make enough money to pay his rent in cash, so he squeezed himself, his wife, and their baby daughter into a friend’s small house in a poor section of Oakland where instead of paying rent they provided meals.

Sterling found a house for London and his wife Bess at below-market rent. “Have a great view, now,” London enthused, “a clean sweep of the horizon—San Francisco across the bay, Goat, Angel, and Alcatraz islands, the Golden Gate and the Pacific to say nothing of the Contra Costa and Berkeley hills. Writing has not been up to much lately, but I should surely do good work here.” The Londons' new home at 56 Bayo Vista Avenue was only 1.3 miles from the Sterlings house. In February 1902, Sterling found a bigger place for the Londons on Blair Avenue in Piedmont, even closer to the Sterling home. Sterling and London became the center of "The Crowd," a group of writers, artists, and musicians in Oakland, Berkeley, and Piedmont.

In early 1903, Sterling was appointed vice president of the Real Estate Combine. Jack London finished a draft version of a new novel, and impressed by Sterling's writing abilities, asked him to suggest improvements. London accepted most of Sterling's suggestions, but the two men "had arguments over one or two words." The Macmillan Company published London's The Call of the Wild in July. It was a huge international bestseller. London inscribed a copy of his novel to Sterling: "From one who has felt for you sharper pangs of comradeship than any other man."

Tuesday, December 22, a new startup, the Piedmont Building Association, filed articles of incorporation with the Alameda County clerk. Sterling was one of five founding directors. Also that year Sterling self-published his first book, The Testimony of the Suns and Other Poems, which generated nationwide acclaim. He inscribed a copy: "To our genius, Jack London. Here's my book, my heart you have already."

In 1904 Sterling was named the Real Estate Combine’s chairman of the board. He was invited to join the Bohemian Club and worked to have the club admit Jack London as an honorary member. As the new year of 1904 began, London was frantically trying to finish a new novel, The Sea-Wolf. William Randolph Hearst's national chain of newspapers offered to pay London to travel to Japan, Korea, and China to report on the Russo-Japanese War, but only if London left the night of January 7. In the last hours before he boarded a ship, London finished a Sea-Wolf draft he considered good enough for magazine publication. Those editors always deleted paragraphs and changed texts, so London wouldn't polish that draft. The book text he cared about very much, but he would be on the other side of the world, unable to work on it. London turned over his magazine draft to Sterling and London's lover Charmian Kittredge, trusting them to combine that draft with London's notes, any corrections spotted by the magazine editors, and Sterling's and Kittredge's own improvements to produce The Sea-Wolf book version while London was in Asia.

In October The Sea-Wolf was published. It became London's second worldwide bestseller. Sterling's contributions to the book version so impressed London that he gifted Sterling with The Sea-Wolf's original typescript. Afterwards London sent prepublication drafts of other books and stories to Sterling, "his best critic," explained photographer Arnold Genthe, who knew both men well. "Jack London in those days rarely gave a manuscript its final typing until he submitted the drafts to Sterling."

In the autumn of 1904 the Realty Syndicate and its managers—including Sterling—were attacked by a smear campaign in the San Francisco Examiner. Almost every day the Examiner printed stories accusing the Syndicate of defrauding investors, even though the Syndicate had always paid its loan and bond payments on time. On November 18, 1904, Sterling resigned as a director of the Syndicate—although he would remain its employee. He had been a director for nine years. That December, George also resigned from the board of Oakland Traction Consolidated. In January 1905, George stepped down as the Real Estate Combine’s chairman, but remained its vice president and a member of its board.

That January, a grand jury opened an investigation into the conduct of the Realty Syndicate and its officers. Then six investors sued Sterling and other Syndicate officers, accusing them of lying to defraud investors. In addition, the California State Senate opened an investigation of the Syndicate. The senators who opened the State Senate investigation were convicted of taking bribes from the Examiner, so their investigation was dropped. The lawsuit was also dropped. Eventually the months-long grand jury investigation found no evidence of any wrongdoing.

Sterling decided to quit his business career and become a full-time poet. He wanted to move out of the San Francisco Bay Area and its distractions. Carrie was reluctant to leave her family, friends, and active social life, but hoped going away might keep her husband from chasing other women. They took a train to Monterey to investigate moving there. They were welcomed by Bohemian Club member Charles Rollo Peters, a landscape painter with a thirty-acre estate near Monterey. On March 4, 1905, Peters showed them nearby sights, including a forested artists’ colony, population 75, with white sand beaches. The village was named Carmel-by-the-Sea.

On March 30 Sterling announced to the press he “will relinquish his connection with the Realty Syndicate and retire to private life” in June. He said of Carmel, “as beautiful as it is secluded, I expect to have the right sort of energy to give the world my best work.”

Carmel-by-the-Sea: 1905-1914
On June 4, 1905, George and Carrie Sterling bought an acre of land in Carmel-by-the-Sea, California, 114 miles south of Oakland. They also rented two additional acres, where they planned to grow their own vegetables. The Sterlings' lot sat on a hilltop in the Eighty Acres tract, on the east side of Torres Street between 10th Avenue and 11th Avenue. The Sterlings purchased the third lot after 10th Avenue.

On June 30, George began a diary: "Arrived at Carmel: Geo. Sterling, W. E. Wood, R. L. [Richard] Partington. Fine weather. Put up small tent." The next day the men "Put up large tent" for them to live in while they prepared the site and built a house for the Sterlings. William E. Wood was in charge of construction. In Sterling's words, "Wood was a 'boss carpenter' under his father, in Vancouver". He was a friend of Sterling and Partington; in fact, Dick Partington had once painted Wood's portrait. Other Sterling friends arrived. Especially helpful was Sag Harbor pal Gene Fenlon, who had once worked as a circus strongman.

George Sterling house
The Sterlings' American Craftsman bungalow had a thirty-foot-long by eighteen-foot-wide living room with oiled redwood paneling, a fireplace, and chimney made from Carmel stone. It had views of Carmel Valley, Carmel River, and the Santa Lucia Mountains.

Photographer Arnold Genthe stopped by while the house was under construction. He became the first of many Sterling friends to follow him to Carmel, building a larger Craftsman house nearby that copied some features of the Sterling home.

The Sterlings left Piedmont and moved into their new Carmel home on August 18, 1905. Sterling still couldn't leave Frank Havens' corporate work behind. Havens pleaded for Sterling's help. The Sterlings needed the "indecently large" pay, so for the next five years George continued to work for Havens' corporations, most months spending one to three weeks at work in San Francisco or Oakland and the rest of his time in Carmel.

Sterling encouraged classically-trained singer and pianist Mabel Gray Lachmund Young to move to Carmel. In 1905, builder M.J. Murphy built her a small redwood cottage on Lincoln, which still survives today, including her "LACHMUND" sign near its front gate and Carmel's last surviving tent cabin in its back yard.

1906 earthquake and aftermath
At 5:12 on the morning of April 18, Sterling was at home in Carmel "lying in bed, wide awake" when a mighty earthquake struck: "The shock even there was terrific—I thought it would never let up. We all ran out on the front veranda … My two big rock chimneys were shattered, and broken up entirely 'from the roof up'."

North in San Francisco (at that time the nation's ninth-largest city), the 1906 San Francisco earthquake and fire destroyed about 80% of the city and left more than 225,000 people homeless. Several refugees fled to Carmel. To accommodate visitors, the Sterlings added a tent-cabin and a large tent. They converted part of their woodshed into a second kitchen for visitors' use. Members of the Partington family stayed with the Sterlings for months. Several Sterling friends moved permanently to Carmel.

In 1907, the Sterlings became good friends with James Hopper and his wife when they moved to Carmel. In 1913, Hopper and his wife purchased the cottage from Carrie Sterling after she and George divorced.

In 1924, the house burned down and was rebuilt with thermotite cement blocks, a locally produced fireproof building material. In 1938, Hopper sold the house to John P. Gilbert and his wife, the parents of Mrs. Ungaretti.

Colony of artists, writers, and musicians
A colony of artists and painters already lived in Carmel before the Sterlings moved there. In addition to Arnold Genthe, Sterling attracted as new residents novelist Mary Austin, writer Herbert Heron, Perry Newberry, and several other writers, musicians, and artists.

In January 1907 Sterling was elected corporate secretary of the Piedmont Development company and treasurer of the Real Estate Combine. That year he and Carrie sold their former home in Piedmont to Traynor Bell.

The death by poison of the young poet Nora May French in Sterling's home drew national press coverage.

Upton Sinclair and Sinclair Lewis moved to Carmel on a trial basis, but decided Carmel was not for them. Jack London came to Carmel three times to visit Sterling, Ambrose Bierce visited Sterling twice, and Clark Ashton Smith stayed in Sterling's bungalow for a month.

Sterling was one of the founders of the Carmel Forest Theater and the Carmel Arts and Crafts Club. On July 16, 1908, Sterling was toastmaster for thirty-two members of the club for the first annual breakfast held at the clubhouse.

New York City and Sag Harbor: 1914-1915
After the Sterlings' divorce became final in 1914, George moved to New York. His residence in New York City and summer in Sag Harbor is described in the "Literary career and critical responses" section above.

San Francisco: 1915-1926
Sterling moved back to San Francisco and into the Bohemian Club. Except for trips to Hollywood to write plays and movies and one more successful stay in New York, Sterling lived for the rest of his life in the Bohemian Club.

Death
On November 15, 1926, H.L. Mencken visited Sterling in San Francisco. "'He was in great pain when I called upon him at the Bohemian Club, but his mind was clear, and we had a brief and friendly palaver. I came away convinced that he was desperately ill. He showed every sign of complete exhaustion. That was on Monday. On Tuesday morning I went to see him again, but found him sleeping. On Tuesday night his door was locked, and the transom showed darkness within. I assumed he was still sleeping, and went away. No doubt he was already dead.'"

Sterling died by suicide in his room at the Bohemian Club; his body was discovered on November 17, 1926. He was 56 years old. Sterling carried a vial of cyanide for many years. When asked about it he said, "A prison becomes a home if you have the key". He was buried in Oakland, California. Mencken wrote: "In the end, with age and illness upon him, he put an end to his life, quietly, simply and decently. It was, I think, a good life—and a good death."

Legacy
H. P. Lovecraft noted of Sterling: “I have the most profound respect for his work & influence in American letters.” Writers influenced by Sterling include Clark Ashton Smith, Robinson Jeffers, Audrey Wurdemann, Sinclair Lewis, Ray Bradbury, Fritz Lieber, Frances Marion, and others.

Sterling is depicted twice in Jack London's novels: as Russ Brissenden in the autobiographical Martin Eden (1909) and as Mark Hall in The Valley of the Moon (1913).

Memorials
* In 1904, sculptor Robert Ingersoll Aitken carved a bas relief portrait of Sterling for display at the St. Louis World's Fair. This sculpture is on permanent display in the Harrison Memorial Library's Henry Meade Williams Local History Department in Carmel-by-the-Sea, California.
 * During World War II, the Liberty ship SS George Sterling (MC hull no. 2152) was launched September 19, 1943.
 * In 2002, artist Robert Alexander Baillie carved George Sterling's poem "Pumas" onto a large limestone monument in South Carolina's Brookgreen Gardens.
 * Sterling Avenue in Berkeley is named for George Sterling.
 * Sterling Avenue in Alameda is named for George Sterling.
 * Sterling Drive in Oakland is thought to be named for George Sterling.
 * In October, 2003, a plaque with Sterling's poem "The Black Vulture" was installed at 2080 Addison Street, Berkeley, California.
 * On October 8, 1950, in Joaquin Miller Park in Oakland, the California Writers Club dedicated a redwood tree near the park's cascade as a memorial to Sterling.
 * A portrait bust of Sterling by sculptor Ralph Stackpole is displayed near the History Department in Dwinelle Hall at the University of California, Berkeley.
 * In the Beach Chalet in San Francisco's Golden Gate Park, the 1937 ground floor mural by Lucien Labaudt includes a painted banner arched over a doorway with the quotation "At the end of our streets—the stars," from Sterling's poem "The City by The Sea: San Francisco," and Sterling's name and life dates "1869-1926."
 * In San Francisco at the northeast corner of Townsend Street and Embarcadero is a stone monument with Sterling's name, the date 1901, and the quotation "To each the city of his dream," the first line of "Memorial Day," Sterling's first major poem.
 * In 1922, a large bronze plaque was placed in front of the official residence for San Francisco's fire chief at 870 Bush Street with a quotation from Sterling.
 * A stone bench was dedicated to Sterling on June 25, 1926, at the crest of Hyde Street on Russian Hill. The bench includes a plaque with a quotation from Sterling's poem "The Cool, Grey City of Love." In 1982, the park where the bench is located was named "George Sterling Park".
 * The tomb of the family of artist Charles Rollo Peters is in the San Carlos Cemetery in Monterey, California. A granite monument to the artist’s wife, Kathleen Frances Murphy Peters (who died at age 32 after giving birth) and their daughter, Kathleen Mary Peters (who accidentally burned herself to death at age two) includes an epitaph poem to them with Sterling’s signature engraved beneath.
 * Sterling's ashes are interred in the Chapel of Memories Columbarium and Mausoleum in Oakland, California.

Poetry volumes published during Sterling's lifetime

 * The Testimony of the Suns and Other Poems (San Francisco: W. E. Wood, 1903; San Francisco: A. M. Robertson, 1904, 1907)
 * A Wine of Wizardry and Other Poems (San Francisco: A. M. Robertson, 1909; [Sag Harbor, NY]: Brickiln Press, 2002)
 * The House of Orchids and Other Poems (San Francisco: A. M. Robertson, 1911)
 * Beyond the Breakers and Other Poems (San Francisco: A. M. Robertson, 1914)
 * Ode on the Opening of the Panama–Pacific International Exposition (San Francisco: A. M. Robertson, 1915)
 * The Evanescent City (San Francisco: A. M. Robertson, 1915)
 * The Caged Eagle and Other Poems (San Francisco: A. M. Robertson, 1916)
 * Yosemite: An Ode (San Francisco: A. M. Robertson, 1916)
 * The Binding of the Beast and Other War Verse (San Francisco: A. M. Robertson, 1917)
 * Thirty-Five Sonnets (San Francisco: Book Club of California, 1917)
 * To a Girl Dancing (San Francisco: Grabhorn, 1921)
 * Sails and Mirage and Other Poems (San Francisco: A. M. Robertson, 1921)
 * Selected Poems (New York: Henry Holt, 1923; San Francisco: A. M. Robertson, 1923; St. Clair Shores, Michigan: Scholarly Press, 1970; [Irvine, Calif.]: Reprint Services, 1974)
 * Strange Waters (San Francisco: [Paul Elder?], 1926).

Poetry volumes published posthumously

 * The Testimony of the Suns, Including Comments, Suggestions, and Annotations by Ambrose Bierce: A Facsimile of the Original Typewritten Manuscript (San Francisco: Book Club of California, 1927).
 * Sonnets to Craig, Upton Sinclair, ed. (Long Beach, Calif.: Upton Sinclair, 1928; New York: Albert & Charles Boni, 1928). [Boni published both hardcover and paperback editions in 1928.]
 * Five Poems ([San Francisco]: Windsor Press, 1928).
 * Poems to Vera (New York: Oxford University Press, 1938).
 * After Sunset, R. H. Barlow, ed. (San Francisco: John Howell, 1939).
 * A Wine of Wizardry and Three Other Poems, Dale L. Walker, ed. (Fort Johnson: "a private press," 1964).
 * George Sterling: A Centenary Memoir-Anthology, Charles Angoff, ed. (South Brunswick and New York: Poetry Society of America, 1969).
 * The Thirst of Satan: Poems of Fantasy and Terror, S. T. Joshi, ed. (New York: Hippocampus Press, 2003).
 * Complete Poetry, S. T. Joshi and David E. Schultz, eds. (New York: Hippocampus Press, 2013).
 * El Testimonio de los Soles y Otros Poemas: Edicióne Crítica y Bilingüe, Ariadna García Carreño, ed. and translator (Madrid: Editorial Verbum, 2022).
 * El Vino de la Hechicería y Otras Herejías: Edicióne Crítica y Bilingüe, Ariadna García Carreño, ed. and translator (Madrid: Editorial Verbum, 2024).

Plays

 * The Triumph of Bohemia: A Forest Play, music by Edward F. Schneider (San Francisco: Bohemian Club, 1907).
 * A Masque of the Cities with Henry Anderson Lafler, music by several composers ([Oakland]: [Oakland Commercial Club], 1913).
 * The Play of Everyman, based on the play by Hugo von Hofmannsthal, adapted and translated by Sterling with "Richard" Ryszard Ordynski, music by Victor Schertzinger (San Francisco: A. M. Robertson, 1917); music by Einar Nelson (Los Angeles: Primavera Press, 1939).
 * The Twilight of the Kings with Richard Hotaling and [uncredited] Porter Garnett, music by Wallace Arthur Sabin (San Francisco: Bohemian Club, 1918).
 * Lilith: A Dramatic Poem (San Francisco: A. M. Robertson, 1919; San Francisco: Book Club of California, 1920; New York: Macmillan, 1926).
 * Rosamund: A Dramatic Poem (San Francisco: A. M. Robertson, 1920).
 * Truth, (Chicago: Bookfellows, 1923; New York: AMS Press, 1970).
 * Truth: A Grove Play, music by Domenico Brescia (San Francisco: Bohemian Club, 1926).

Songs

 * Songs, music by Lawrence Zenda (Rosaliene Travis, pseud.), (San Francisco: Sherman, Clay, 1916, 1918, 1928).
 * "You Are So Beautiful", music by Lawrence Zenda (Rosaliene Travis, pseud.), (San Francisco: Sherman, Clay, 1917).
 * "We're A-Going" (San Francisco: Sherman, Clay, 1918).
 * "The Flag," music "March of the Men of Harlech" (traditional), (San Francisco: A. M. Robertson, 1918).
 * "Love Song," music by John H. Densmore, (New York: G. Schirmer, 1926).
 * "The Abalone Song," with additional verses by Opal Heron, Sinclair Lewis, Michael Williams, and others, (San Francisco: Albert M. Bender [Grabhorn Press], 1937; San Francisco: Windsor Press, 1943; Los Angeles: Tuscan Press, 1998).

Nonfiction

 * Robinson Jeffers: The Man and the Artist (New York: Boni & Liveright, 1926).

Fiction

 * Babes in the Wood (San Francisco: Vince Emery, 2020).

Letters

 * The Letters of George Sterling, Dalton Harvey Gross, ed. (PhD diss: Southern Illinois University, 1968).
 * Give a Man a Boat He Can Sail: Letters of George Sterling, James Henry, ed. (Detroit: Harlo, 1980).
 * From Baltimore to Bohemia: The Letters of H. L. Mencken and George Sterling, ed. S. T. Joshi (Rutherford, NJ: Fairleigh Dickinson University, 2001).
 * Dear Master: Letters of George Sterling to Ambrose Bierce, 1900–1912, Roger K. Larson, ed. (San Francisco: Book Club of California; 2002).
 * The Shadow of the Unattained: The Letters of George Sterling and Clark Ashton Smith, David E. Schultz and S. T. Joshi, eds. (New York: Hippocampus Press, 2005).

Volumes edited by Sterling

 * The Letters of Ambrose Bierce, uncredited editor with Bertha Clark Pope, (San Francisco: Book Club of California, 1922). Sterling was co-editor and wrote "A Memoir of Ambrose Bierce" for this volume.
 * Continent's End: An Anthology of Contemporary California Poets, ed. with Genevieve Taggard and James Rorty (San Francisco: Book Club of California, 1925).

title: George Sterling


text:
Gas Light

Gas Light is a 1938 thriller play, set in 1880s London, written by the British novelist and playwright Patrick Hamilton. Hamilton's play is a dark tale of a marriage based on deceit and trickery, and a husband committed to driving his wife insane in order to steal from her.

Gas Light was written during a dark period in Hamilton's life. Six years prior to the play Hamilton was hit by a drunk driver and dragged through the streets of London, leaving him with a limp, a paralysed arm, and a disfigured face. Two years later, Hamilton's mother took her own life.

Premiering at the Richmond Theatre in London on 5 December 1938 before transferring to the Apollo Theatre in the West End on 1 January, the play closed after six months and 141 performances, but it has endured through an impressive list of incarnations most notably Five Chelsea Lane (1941 American play – renamed for Los Angeles production), Angel Street (1941 American play – renamed again when Los Angeles production transferred to Broadway), and Gaslight (1958 Australian television play). Angel Street was a hit in its Broadway premiere, and it remains one of the longest-running non-musicals in Broadway history, with 1,295 total performances.

The play was adapted to the big screen as two films, both entitled Gaslight—a 1940 British film, and a 1944 American film directed by George Cukor, also known as The Murder in Thornton Square in the UK. Both films are considered classics in their respective countries of origin, and are generally equally critically acclaimed. The 1944 American version received seven nominations at the 17th Academy Awards, including Best Picture, and won two, Best Actress (for Ingrid Bergman) and Best Production Design. In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Synopsis
The play is set in fog-bound London in 1880, at the upper middle class home of Jack Manningham and his wife Bella. It is late afternoon, a time that Hamilton notes as the time "before the feeble dawn of gaslight and tea."

Bella is clearly on edge, and the stern reproaches of her overbearing husband (who flirts with the servants in front of his wife) make matters worse. What most perturbs Bella is Jack's unexplained disappearances from the house: he will not tell her where he is going, and this increases her anxiety. It becomes clear that Jack is intent on convincing Bella that she is going insane, even to the point of assuring her she is imagining that the gas light in the house is dimming.

The appearance of a police detective called Rough leads Bella to realise that Jack is responsible for her torment. Rough explains that the apartment above was once occupied by one Alice Barlow, a wealthy woman who was murdered for her jewels. The murderer was never found.

Jack goes to the flat each night to search for the jewels, and lighting the apartment's gas lights causes the lights to dim in the rest of the building. His footsteps in the supposedly empty apartment persuade Bella that she is "hearing things". Rough convinces Bella to assist him in exposing Jack as the murderer, which she does, but not before she takes revenge on Jack by pretending to help him escape. At the last minute she reminds him that, having gone insane, she is not accountable for her actions. The play closes with Jack being led away by the police.

London
Gas Light premiered on 5 December 1938 at the Richmond Theatre in Richmond, London. It transferred to the Apollo Theatre on 1 January 1939 and to the Savoy Theatre on 22 May 1939. The cast featured Dennis Arundell (Mr. Manningham), Milton Rosmer (Mr. Rough), Gwen Ffrangcon-Davies (Mrs. Manningham), Beatrice Rowe (Elizabeth) and Elizabeth Inglis (Nancy). The production closed 10 June 1939 after a total of 141 performances.

Broadway
In the spring of 1941 Vincent Price and his wife, actress Edith Barrett, saw Gas Light performed in Los Angeles as a three-hander titled Five Chelsea Lane. They were impressed by the play and set about securing the rights for a Broadway production of their own. By fall, they had found a producer to underwrite the project, but Barrett abruptly withdrew to remain in Hollywood and work in films. In November 1941 Price returned to work on the New York stage. Judith Evelyn, the Canadian actress who played the role of Mrs. Manningham in Los Angeles, joined the Broadway production. The name of the play changed to Angel Street.

Angel Street premiered on Broadway at the John Golden Theatre on 5 December 1941, produced and directed by Shepard Traube (1907–1983). The cast featured Leo G. Carroll (Rough), Florence Edney (Elizabeth), Elizabeth Eustis (Nancy), Judith Evelyn (Mrs. Manningham) and Vincent Price (Mr. Manningham). Price left the play after a year, when his working relationship with Evelyn deteriorated into what she later described as "violent dislike". In December 1942 John Emery assumed the role of Mr. Manningham.

In a long profile headlined “The Triumph of Traube,“ published on 14 March 1943, The New York Times described some of the challenges faced by the production, including the untimely opening date, two days before Pearl Harbor: “On Dec. 5 the play opened, on Dec. 6 the rave reviews had sent a long line of pilgrims to the theatre box office, on Dec. 7 the play was forgotten under the impact of the Japanese attack. Angel Street wabbled momentarily then picked up its stride, which has hardly slackened since.” The play transferred to the Bijou Theatre on 2 October 1944 and closed on 30 December 1944 after 1,295 performances.

On tour
On 19 December 1941 The New York Times announced that Traube had cancelled a trip to the West Coast in order to form a touring company for Angel Street. The tour was to begin in Baltimore in February, with stops including Washington, D.C.; Pittsburgh, Pennsylvania; and Chicago, Illinois.

On Sunday, 15 March 1942, the touring company of Angel Street opened in Chicago to rave reviews. The New York Times reported an observation by Chicago critic Robert Pollak that "Not since Hellzapoppin had the crowd out front participated so heartily".

Revivals
Angel Street was added to the repertory of The American Negro Players in 1947.

The play ran at New York City Center from 22 January 1948 to 1 February 1948 for 14 performances. Directed by Richard Barr, the cast featured José Ferrer (Mr. Manningham), Uta Hagen (Mrs. Manningham), Phyllis Hill (Nancy), Nan McFarland (Elizabeth), Ralph Roberts (Policeman), Victor Thorley (Policeman) and Richard Whorf (Rough).

On 19 August 1952 The New York Times announced that a new off-Broadway group, Hamilton-Bruder Productions (a partnership of Patrick Hamilton and Janet Bruders), was opening with a revival of Angel Street.

The play was revived on Broadway at the Lyceum Theatre, opening on 26 December 1975 and closing on 8 February 1976 after 52 performances and 4 previews. Also directed by Shepard Traube, the cast featured Michael Allinson (Mr. Manningham), Dina Merrill (Mrs. Manningham), Christine Andreas (Nancy), Bette Henritze (Elizabeth) and Robert E. Thompson (Rough).

Dulaang UP produced the play's Philippine premiere in February 2005 with an English version and a Filipino translation.

The play was produced at The Old Vic, London in June 2007 under the title of Gaslight. Directed by Peter Gill, the cast featured Andrew Woodall as Mr. Manningham, Rosamund Pike as Mrs. Manningham and Kenneth Cranham as Rough.

The Irish Repertory Theatre produced the play Off-Broadway (as Gaslight) running from 17 May 2007 to 8 July 2007. The production was directed by Charlotte Moore and the cast featured David Staller (Mr. Manningham), Laura Odeh (Mrs. Manningham), Laoisa Sexton (Nancy), Patricia O'Connell (Elizabeth), April Ann Klein (Police Officer) and Brian Murray (Rough). Murray was nominated for a Lucille Lortel Award as Outstanding Featured Actor. Staller was nominated for the Drama League's Distinguished Performance Award, and the production was nominated for the League's Distinguished Revival of a Play.

In 2014 the Sandyford Little Theatre Company produced Gaslight: a Radio Play for Stage, an onstage radio play with seven actors playing 24 roles.

In 2015 Myriad Theatre & Film produced Gaslight at Ingatestone Hall in Essex.

In October 2016 the Lantern Theatre in Sheffield, England produced Gaslight.

In 2019 Perth Theatre staged a production of "Gaslight" as part of their Winter/Spring season.

In 2022 the Shaw Festival, the second-largest repertory theatre company in North America, staged a production of Gaslight.

On 9 September 2022 the version by Jô Soares, one of the greatest Brazilian theater directors, premiered in Sao Paulo, Brazil. The director did not attend the premiere, as he died on 5 August 2022. Starring Giovani Tozi and Erica Montanheiro, "Gaslight - A Toxic Relationship", features a 14-metre spider web on the set, and with doses of humor, the production is still running, as one of the greatest theatrical successes in the country.

Reception
Angel Street was a hit in its Broadway premiere, and it remains one of the longest-running non-musicals in Broadway history, with 1,295 total performances.

It remains a perennial favourite with both repertory and amateur theatre companies.

The New York Times critic Brooks Atkinson opens his 6 December 1941 review with this observation: “Although Patrick Hamilton writes his thrillers within a small compass, he writes them with infinite craft and dexterity. Angel Street, which sent a chill up the spine of the Golden Theatre last evening, comes off the top part of the theatre's top shelf.” Atkinson praises Straube for matching “Hamilton’s skill in a tingling performance that fills the theater with an ominous and terrifying illusion” and commends all the actors, observing that Leo G. Carroll had his best role in years.

In his review of the 1948 City Center production, Louis Kronenberger wrote: "(It) remains one of the better thrillers ... let's call it one of the best. All the same, though it holds up nicely for three acts, it seems to me outstandingly good for only one."

Reviewing Traube's 1975 Broadway revival, Clive Barnes asked: “Whatever happened to the good, old‐fashioned melodrama? It probably drifted over to television and died. Just about 35 years ago...Patrick Hamilton's English thriller, Angel Street, opened on Broadway with resounding success. It was directed and produced by Shepard Traube. Last night, at the Lyceum Theater, Mr. Traube attempted an encore. It was not called for... The trouble with this play is not the trouble with this particular play—it is the trouble with this play as a particular. The theater cannot afford the luxury anymore of wilting heroines, villains making out as if they were Vincent Price (35 years ago it was Vincent Price!) or detectives detecting with the solidity of a basset hound... Nothing is quite clever enough in Angel Street, and the atmosphere is so rarefied that the play is artistically in dire need of oxygen.”

On 24 May 2007, in her review of the Irish Repertory Theatre revival, The New York Times' Ginia Bellafante observed that Gaslight "established the blueprint for a kind of domestic-peril thriller... Every time an actress..portrays the sort of wife who discovers that the greatest threat to her mental and physical safety is the man sitting in her breakfast nook, Mr. Hamilton’s estate ought to receive some type of remuneration....David Staller plays this undesirable husband as a man whose lust exempts nothing. Every time he appears onstage, you think: keep this person away from my babysitter and Rolex. Mr. Staller's rogue posture modulates his character's cruelty, leavening the play's potentially stifling mood. Mr. Hamilton believed our most dangerous enemies were always in the room with us ..., and his work can feel claustrophobic. Ms. Moore is aware of this, providing the proper ventilation to clear much of the Victorian must. Brian Murray, playing the detective who uncovers Manningham's plan, is her greatest asset in this regard. He appears onstage with the red cheeks of a Santa Claus, an ageing imp who hides out in nooks and corners, showing a benevolent sarcasm that teases Bella out of her dimwitted complacency".

Film

 * The 1940 British film Gaslight, directed by Thorold Dickinson.
 * The 1944 American film of the same name, directed by George Cukor. It was released in Britain as The Murder in Thornton Square in order to avoid confusion with the earlier film.

Television

 * The cast of the original London production recreated their stage roles for a 1939 television presentation directed by Lanham Titchener and performed live on BBC Television.
 * On 20 January 1946 NBC broadcast the complete play. The following Sunday, a long piece by New York Times critic Jack Gould examined the production and its implications for the future of television.
 * A version was produced for Australian television in 1958.
 * Polish television aired a live stage play on 28 September 1961, under the Polish title Gasnący płomień. This was a part of its ongoing series of televised stage plays under the name Cobra Theater (Kobra – Teatr Sensacji). It is the oldest episode of the Cobra Theatre series that is known to have survived in its entirety on tape.

Radio
The story was dramatised as a half-hour radio play on the 3 February 1947 broadcast of The Screen Guild Theater, starring Charles Boyer and Susan Hayward. A 1946 one-hour radio production on Lux Radio Theatre featured Charles Boyer and Ingrid Bergman, stars of the 1944 film adaptation. A 2019 podcast adaptation starred Chloë Grace Moretz, though it was set in the modern day, and the plot was significantly modernised. It was sponsored by Talkspace.

Stage
In 2022, Canada's Shaw Festival premiered a feminist adaptation of the play penned by Johnna Wright and Patty Jamieson. The production, directed by Kelli Fox, starred Julie Lumsden as Bella and André Morin as Jack.

Denominalisation of the play's title
In 1961, twenty-three years after the stageplay was written, writers began denominalising the film's title and using it as a verb, "gaslighting". Gaslighting, in this context, is a colloquialism that loosely means to manipulate a person or a group of people in a way similar to the way the protagonist in the play (Bella) was manipulated.

The term "gaslighting" does not appear in any of the stageplays or screenplays and is inspired by the film's title "Gaslight".

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Gas Light


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title: User talk:210.54.120.116


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HPE XP

The HP Storageworks XP (XP = eXtended Platform) is a computer data storage disk array sold by Hewlett Packard Enterprise using Hitachi Data Systems hardware and adding their own software to it. It's based on the Hitachi Virtual Storage Platform and targeted towards enabling large scale consolidation, large database, Oracle, SAP, Exchange, and online transaction processing (OLTP) environments.

The XP Disk Array family
Used to be called P9000 XP, to match with other disk array products they sold at the time (P2000, P4000, P6000 and P10000).

XP 48

 * RAID 0/1 and RAID 5 support
 * 18 GB 15,000 RPM, 73 GB 10,000 rpm and 181 GB 7,200 rpm Fibre Channel drives
 * Crossbar Architecture (3.2 GB/s)
 * High capacity scalability—up to 48 disks, 8.7 TB and 24 host connectivity ports
 * up to 16 GiB of battery-protected (48 hours minimum), mirrored write cache

XP 128

 * a mixture of disk drives configured as RAID 1 (2D+2D and 4D+4D) and RAID 5 (3D+1P and 7D+1P).
 * from 5 drives to 128 for up to 36 TB of usable storage capacity, 4 drives at a time
 * heterogeneous connectivity via Fibre Channel, iSCSI, FICON and ESCON
 * all the software functionality of the larger XP 1024 with a smaller footprint.
 * up to 64 GiB of battery-protected (48 hours minimum), mirrored write cache

XP 256

 * RAID 0/1 and RAID 5 support
 * from 17 GB to 9 TB of storage space
 * connectivity via SCSI (8 to 32 ports) or Fibre Channel (4 to 16 ports)
 * up to 16 GiB of battery-protected (48 hours minimum), mirrored write cache

XP 512

 * RAID 0/1 and RAID 5 support
 * 18 GB, 15,000 rpm, 73 GB 10,000 rpm and 181 GB 7,200 rpm Fibre Channel drives
 * High capacity scalability—up to 512 disks, 93 TB and 32 host connections
 * up to 32 GiB battery-protected, mirrored write cache

XP 1024

 * a mixture of disk drives configured as RAID 1 (2D+2D and 4D+4D) and RAID 5 (3D+1P and 7D+1P).
 * up to 1024 disk drives for 288 GB to 149 TB raw and 144 TB to 129 TB of usable storage capacity in a single array
 * heterogeneous connectivity via Fibre Channel, iSCSI, FICON and ESCON
 * up to 128 GiB battery-protected (48 hours minimum), mirrored write cache

XP 10000

 * a mixture of disk drives configured as RAID 1 (2D+2D and 4D+4D), RAID 5 (3D+1P and 7D+1P) and RAID 6 (6D+2P)
 * up to 240 disk drives for 69 TB of capacity
 * virtualization technology provides external storage device support to enable tiered storage up to 16 PB

XP 12000

 * OEM product from Hitachi Tagmastore USP 1100
 * a mixture of disk drives configured as RAID 1 (2D+2D and 4D+4D), RAID 5 (3D+1P and 7D+1P) and RAID 6 (6D+2P)
 * from 9 to 1152 disk drives for 576 GB to over 332 TB of internal capacity
 * virtualization technology provides external storage device support to enable tiered storage up to 32 PB
 * up to 128 GiB battery-protected (48 hours minimum), mirrored write cache
 * double the internal performance of the XP1024

XP 20000

 * a mixture of disk drives configured as RAID 1 (2D+2D and 4D+4D), RAID 5 (3D+1P, 7D+1P, 14D+2P and 28D+4P) and RAID 6 (6D+2P)
 * up to 240 disk drives for 177 TB of raw capacity
 * up to 64 GiB battery-protected (48 hours minimum), mirrored write cache
 * virtualization technology provides external storage device support to enable tiered storage up to 96 PB

XP 24000
A mixture of disk drives configured as RAID 1 (2D+2D and 4D+4D), RAID 5 (3D+1P, 7D+1P, 14D+2P and 28D+4P) and RAID 6 (6D+2P) from 9 to 1152 disk drives for 2.26 PB Raw space. (Used at Cloud At Cost)

P9500

 * a mixture of Serial attached SCSI (SAS) and midline SAS disk drives configured as RAID 1 (2D+2D and 4D+4D), RAID 5 (3D+1P, 7D+1P, 14D+2P and 28D+4P) and RAID 6 (6D+2P)
 * from 5 – 2048 disk drives for 2 PB of raw capacity
 * up to 1 TiB flash-protected (backup will last indefinitely), mirrored write cache
 * No entry-level model any more – P9500 scales from small to large
 * Minimum configuration is a whole rack containing SFF SAS drive chassis, proprietary SSD drive chassis, SAN network controller, cache module, batteries, power supplies, fans, management server
 * Based on Hitachi VSP F710I

At some point models are the XP 20000, XP24000 and the P9500.

XP7

 * supports RAID 1, RAID 5 and RAID 6
 * supports up to 8PB raw capacity and up to 2304 disks (SFF, LFF, SSD, Flash-Modul SAS)
 * up to 2 TiB cache
 * up to 247 PB external storage

XP8

 * supports RAID 1, RAID 5 and RAID 6
 * supports up to 69PB raw capacity with several disk formats(SFF, LFF, SSD, Flash-Modul SAS, SCM, NVMe SFF)
 * up to 6 TiB cache
 * up to 255 PB external storage

title: HPE XP