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If you read contemporary children’s poetry with some knowledge of the grand tradition from which it flows, only tone deafness can keep you from hearing echoes of the past: the lambent lines of worthies like Christina Rossetti, Langston Hughes, and Robert Louis Stevenson in gentle poems, or the inspired wordplay of David McCord and John Ciardi in nonsense verse. . . .
My own benefactors range from Eliot himself, Auden, Housman, Lear, Carroll, the Carryls—Charles and Guy, père and fils—to many other lesser-known nineteenth- and twentieth-century toilers in poetry, nonsense, and light verse. I happily confess my felonies. When poets stand on the shoulders of their forebears, they should do so with a lightness, not to say airiness, that bespeaks respect for the tradition and an unimpeachable commitment to originality.
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