Katherine Garrison Chapin

Katherine Garrison Chapin was born to a wealthy, well-connected family in Gilded Age New York. Her mother Cornelia Garrison Van Auken (1865–1925) was an actress.{{Sfn|Dennett|2016|p=24}} Her father Lindley Hoffman Chapin (1854–1896) was a Manhattan lawyer who graduated from Harvard Law School in 1874.{{Sfn|Dennett|2016|pp=12–13}}{{Sfn|Turner|1979|p=334}} Her parents were married on February 14, 1888, at 421 Fifth Avenue, Cornelia's family home.{{Sfn|Dennett|2016|pp=24, 26}}

Her sister Cornelia became a sculptor.{{Cite book|last=Barolini|first=Helen|title=Their Other Side: Six American Women and the Lure of Italy|date=2006|publisher=Fordham University Press|isbn=978-0-8232-2629-0|language=en|page=[https://books.google.com/books?id=aPYr22byvDoC&pg=PA184 184]}}{{Sfn|Dennett|2016|pp=29–30}} Her brother Lindley Hoffman Paul Chapin was the father of Schuyler Chapin. Her older paternal half-sister was the publisher Marguerite Caetani.

Chapin was born on September 4, 1890, in Waterford, Connecticut—the location of Rock Lawn, the Chapins' ancestral summer home.{{sfn|Block|Rothe|1944|p=121}}{{Sfn|Dennett|2016|pp=13–14}} She grew up in Manhattan. As a child, she often attended operas at the old Metropolitan Opera House on 39th Street, which was near her family's brownstone at 5 West 37th Street in Murray Hill.{{Cite news|date=1978-01-02|title=Katherine C. Biddle, a Writer and Widow of Attorney General|page=24|work=The New York Times|url=https://www.nytimes.com/1978/01/02/archives/katherine-c-biddle-a-writer-and-widow-of-attorney-general-poems.html|url-status=live|access-date=2020-07-11|issn=0362-4331|archive-date=July 11, 2020|archive-url=https://web.archive.org/web/20200711233035/https://www.nytimes.com/1978/01/02/archives/katherine-c-biddle-a-writer-and-widow-of-attorney-general-poems.html}}{{Sfn|Dennett|2016|p=26}}

Her elementary education was at Miss Keller's School, a private school scholar Laurie Dennett calls "less-expensive and more socially inclusive" than St. Mark's, to which her brother was sent.{{Sfn|Dennett|2016|p=30}} An 1896 article in The Illustrated American describes Miss Keller's as an exemplar of cutting edge educational methods, noting that "[p]racticality is the motto of the school, and the lessons are invariably taught with relevant illustration".{{Cite journal|date=1896-05-16|title=Some Methods of the Modern School|url=https://books.google.com/books?id=ABlLAQAAMAAJ|journal=The Illustrated American|volume=19|pages=678|access-date=September 19, 2020}} Reflecting on her education, Chapin called Miss Keller's "somewhat experimental".{{Sfn|Dennett|2016|p=30}} Chapin also attended a drama school called the Theatre Guild School, presumably run by the Theatre Guild.{{cite news|title=Poet Finds Joy In Efforts to Win 'Skeptics'|date=April 15, 1936|newspaper=The Washington Post|page=X15|id={{ProQuest|150771047}}}}{{efn|It is not clear which Theatre Guild School Chapin attended. One such school was founded in the 1920s and lasted for only two years;{{Cite book|last=Eaton|first=Walter Prichard|author-link=Walter Prichard Eaton|title=The Theatre Guild: The First Ten Years|date=1929|publisher=Brentano's|location=New York|language=en|oclc=1157992285|page=86}} another was located in Cranford, New Jersey, and was in operation as of 1973.{{Cite news|date=1973-01-14|title=Ballet Challenges Young and Parents Alike|language=en-US|work=The New York Times|url=https://www.nytimes.com/1973/01/14/archives/ballet-challenges-young-and-parents-alike-neither-pro-nor-amateur.html|access-date=2021-01-20|issn=0362-4331}}}}

Chapin later attended Columbia University for "postgraduate work",{{efn|It is not clear when Chapin attended Columbia.}} where she studied under Franz Boas, Max Eastman, and Kurt Schindler.{{sfn|Dennett|2016|p=128}} By her time at Columbia, she was engaged to Francis Biddle. Biddle would serve as a judge at the Nuremberg trials and Attorney General under Franklin D. Roosevelt.{{sfn|Dennett|2016|p=128}} They married on April 27, 1918.{{sfn|Block|Rothe|1944|p=121}}

Chapin lived in Philadelphia in the 1930s; Francis had grown up there and practiced law in the city for many years.{{Cite book|last=Geiger|first=Roger L.|url=https://books.google.com/books?id=hTgrDwAAQBAJ|title=Philadelphia Gentlemen: The Making of a National Upper Class|date=2017-07-05|publisher=Routledge|isbn=978-1-351-49990-3|location=London|pages=139–140}}{{Sfn|Shirley|1994|p=426}} Francis was appointed to the National Labor Relations Board in 1934 and the couple moved to Washington, D.C.{{Cite news|last=Shaffer|first=Ron|date=1977-12-31|title=Katherine G. C. Biddle, Poet, Dies at 87|newspaper=The Washington Post|url=https://www.washingtonpost.com/archive/local/1977/12/31/katherine-g-c-biddle-poet-dies-at-87/c7374cd1-aa59-4f6d-9df9-e50ab38e7110/|url-status=live|access-date=2020-07-11|issn=0190-8286|archive-date=September 23, 2020|archive-url=https://web.archive.org/web/20200923030501/https://www.washingtonpost.com/archive/local/1977/12/31/katherine-g-c-biddle-poet-dies-at-87/c7374cd1-aa59-4f6d-9df9-e50ab38e7110/}} Francis and Katherine likely moved back to Philadelphia when Francis briefly served as a judge on the United States Court of Appeals for the Third Circuit, as a letter from Chapin to William Grant Still indicates that they were moving back to Washington in the late 1930s when Francis was appointed Solicitor General.{{Sfn|Shirley|1994|p=433}}

Francis and Katherine had two boys, Edmund and Garrison. Garrison died at age 7; Chapin wrote the poem "Bright Mariner" (1930) in his memory.{{sfn|Dennett|2016|pp=193, 218}}{{Cite news|date=1937-02-07|title=Katherine G. Chapin's Poems|language=en-US|work=The New York Times|url=https://www.nytimes.com/1937/02/07/archives/katherine-g-chapins-poems-time-has-no-shadow-by-katherine-garrison.html|access-date=2021-01-20|issn=0362-4331}}

Allen Tate, who would name her one of the inaugural Fellows in American Letters of the Library of Congress{{Cite book|last=Schwartz|first=Lawrence H.|title=Creating Faulkner's Reputation: The Politics of Modern Literary Criticism|date=1990|publisher=University of Tennessee Press|isbn=978-0-87049-645-5|language=en|page=[https://books.google.com/books?id=3GaX_51irnQC&pg=PA159 159]}}{{Cite book|last=McGuire|first=William|title=Bollingen: An Adventure in Collecting the Past|date=1989-10-21|publisher=Princeton University Press|isbn=978-0-691-01885-0|language=en|page=[https://books.google.com/books?id=QwiOjrjB48oC&pg=PA208 208]}} was a friend of Chapin's, as was Alexis Léger, a poet who wrote as Saint-John Perse.{{Cite journal|last=Underwood|first=Thomas A.|date=1992|title=A Bard among Bibliographers: Allen Tate's Washington Year|journal=The Southern Literary Journal|volume=24|issue=2|pages=36–48 at 44, 46|jstor=20078043|issn=0038-4291}}{{Sfn|Dennett|2016|p=252}} She was a correspondent of philosopher Alain LeRoy Locke, with whom she developed the concept for And They Lynched Him on a Tree (1940);{{Sfn|Shirley|1994|pp=419–428; passim}} and of composer Samuel Barber, who composed a score for her poem "Between Dark and Dark".{{Cite book|last1=Heyman|first1=Barbara B.|url=https://archive.org/details/samuelbarbercomp0000heym|title=Samuel Barber: The Composer and His Music|year=1992|publisher=Oxford University Press|isbn=0-19-506650-2|oclc=23217922|pages=203, 212–213}}

As a Fellow in American Letters, in which capacity she served from 1944 to 1954,{{cite news|date=December 4, 1960|title=Poet to Discuss Modern Trends|page=C10|work=Austin American-Statesman|id={{ProQuest|1611477216}}}} Chapin was on the jury for the first Bollingen Prize in 1948. That year, the prize went to Cantos by Ezra Pound.{{Cite book|last=Roche|first=Thomas P.|title=Luminaries: Princeton Faculty Remembered|date=1996|publisher=Princeton University Press|isbn=978-0-691-01167-7|editor-last=Marks|editor-first=Patricia H.|location=Princeton, New Jersey|pages=325|chapter=Willard Thorp|jstor=j.ctt7zv8s0}}{{Cite journal|last1=D'Ooge|first1=Craig|last2=Spyros|first2=Marsha|date=1998|title=In the Eye of the Library: Poets at the Library of Congress|journal=American Libraries|volume=29|issue=4|pages=48–52 at 49|issn=0002-9769|jstor=25634925}} Chapin was one of only two jurors who voted against Pound. She thought it would be "unwise for the Library of Congress to single out a traitor for recognition; the traitor could not be separated from the poet—his anti-democratic, anti-Semitic fulminations ran through his whole work".{{Cite journal|last=Rector|first=Liam|author-link=Liam Rector|date=2003|title=Elitism, Populism, Laureates, and Free Speech|journal=The American Poetry Review|volume=32|issue=1|pages=9–13 at 9|issn=0360-3709|jstor=20682098}} In addition to her service on the Bollingen Prize jury, Chapin judged the National Book Award for Poetry and the Shelley Memorial Award in 1953 and 1959, respectively;{{Cite web|title=Collection: Katherine Biddle papers|url=https://findingaids.library.georgetown.edu/repositories/15/resources/10155|access-date=2021-01-20|publisher=Georgetown University Library}} and lectured at the Library of Congress.

Katherine remained in Washington for just under 40 years after her move in 1934, presumably with a short interlude in the mid-1930s during Biddle's term as a circuit judge; the family kept a house in Philadelphia as late as 1938.{{cite news|title=Francis Biddles to Spend Holidays in Philadelphia|date=December 20, 1938|newspaper=The Washington Post|page=18|id={{ProQuest|151002620}}}} She moved back to Pennsylvania following a stroke in 1973, and died in Devon on December 30, 1977.{{sfn|Turner|1979}}

Chapin began to publish in the late 1920s. Her works appeared in Harper's Magazine, Scribner's Magazine, Saturday Review, North American Review, Poetry and Ladies' Home Journal.

Lament for the Stolen (1938), a poem about kidnapping written not long after the Lindbergh kidnapping and apparently with the Lindbergh tragedy in mind, became the libretto for a composition by Harl McDonald.{{Sfn|Shirley|1994|p=425}} McDonald wrote his score in July and August 1938.{{cite news|last=Beck|first=Henry C.|date=December 24, 1938|title='Lament for Stolen' Takes Precedence at Weekend Concerts|page=24|work=The Morning Post|location=Camden, New Jersey|url=https://www.newspapers.com/clip/88326835/lament-for-stolen-takes-precedence-at/}} The composition, a fantasia, was about 20 minutes long.

The Philadelphia Orchestra premiered Lament for the Stolen on December 30, 1938, under the direction of Eugene Ormandy.{{Sfn|Shirley|1994|p=425}} The New York Times, in a notice for And They Lynched Him on a Tree, called Lament "a dirge for the mother of a child who has been stolen and killed".{{Cite news|date=1940-05-29|title=Song on Lynching on Stadium List|language=en-US|work=The New York Times|url=https://www.nytimes.com/1940/05/29/archives/song-on-lynching-on-stadium-list-ballad-by-katherine-g-chapin-to-be.html|url-status=live|access-date=2020-07-12|issn=0362-4331|archive-date=July 17, 2020|archive-url=https://web.archive.org/web/20200717032015/https://www.nytimes.com/1940/05/29/archives/song-on-lynching-on-stadium-list-ballad-by-katherine-g-chapin-to-be.html}} Philosopher Alain Locke praised Chapin's writing in Lament, in letters to Chapin and to Charlotte Mason, but disparaged McDonald's score.{{Sfn|Shirley|1994|pp=425–426}}

File:William Grant Still by Carl Van Vechten.jpg

Chapin wrote And They Lynched Him on a Tree (1940) while a federal anti-lynching bill sponsored by Representative Joseph A. Gavagan was being debated in the United States Congress;{{Cite book|last=Smith|first=Catherine Parsons|title=William Grant Still|publisher=University of Illinois Press|year=2008|isbn=978-0-252-03322-3|page=[https://books.google.com/books?id=e2fARj362kcC&pg=PA70 64]|oclc=177019283}}{{Sfn|Shirley|1994|p=435}} scholar Catherine Reef argues that Chapin wrote And They Lynched Him "to persuade Congress to pass" the legislation.{{sfn|Reef|2003|p=78}} The bill failed to pass the Senate three months after And They Lynched Him premiered. The work, set to music by William Grant Still,{{Cite journal|last=Kushner|first=David Z.|date=2002|title=The Multifaceted Nationalism of William Grant Still|journal=American Music Teacher|volume=52|issue=1|pages=32–95 at 35|issn=0003-0112|jstor=43546206}} was Still's first "large-scale choral-orchestral work".{{Sfn|Shirley|1994|p=426}} The composition features two choruses, one Black and one white.{{Sfn|Shirley|1994|p=435}}

Chapin's aunt Charlotte Osgood Mason, a white patron of artists of the Harlem Renaissance,{{Cite book|last=Kellner|first=Bruce|url=https://books.google.com/books?id=f4804eUQ9YQC|title=The Harlem Renaissance|date=2004|publisher=Chelsea House|isbn=978-0-7910-7679-8|editor-last=Bloom|editor-first=Harold|editor-link=Harold Bloom|location=Philadelphia|pages=53, 58–59|chapter=White Patronage in the Harlem Renaissance|access-date=September 19, 2020}} conceived the work in collaboration with Alain Locke, likely in spring 1939.{{Cite web|date=2006|title=And They Lynched Him on a Tree: William Grant Still (1895–1978) and Katherine Biddle (1890–1977)|url=https://www.library.georgetown.edu/exhibition/and-they-lynched-him-to-a-tree|url-status=live|archive-url=https://web.archive.org/web/20200712040314/https://www.library.georgetown.edu/exhibition/and-they-lynched-him-to-a-tree|archive-date=July 12, 2020|access-date=2020-07-12|publisher=Georgetown University Library}}{{Sfn|Shirley|1994|p=427}} According to scholar Wayne D. Shirley, the "first clear reference" to And They Lynched Him appears in a letter from Locke to Chapin dated April 20, 1939, in which Locke mentions Still as a possible collaborator.{{Sfn|Shirley|1994|p=|pp=428–429}} Locke introduced the poem to Still in a letter of August 9, 1939:

Mrs. Biddle, who writes as Katherine Garrison Chapin, has done a powerful poem on lynching, really an epic indictment but by way of pure poetry not propaganda. … [And They Lynched Him on a Tree] is more powerful than the Lament for the Stolen, but has the same skill at transforming a melodramatic situation into one of tragic depth and beauty.{{Sfn|Shirley|1994|p=429}}

The piece premiered on June 25, 1940, at Lewisohn Stadium to an audience of 13,000.{{Cite news|last=Taubman|first=Howard|author-link=Howard Taubman|date=1940-06-26|title=American Music Heard in Stadium|page=27|work=The New York Times|url=https://www.nytimes.com/1940/06/26/archives/american-music-heard-in-stadium-roy-harriss-and-william-g-stills.html|url-status=live|access-date=2020-07-12|issn=0362-4331|archive-date=July 12, 2020|archive-url=https://web.archive.org/web/20200712082049/https://www.nytimes.com/1940/06/26/archives/american-music-heard-in-stadium-roy-harriss-and-william-g-stills.html}}{{Sfn|Shirley|1994|p=426}} Artur Rodziński conducted the New York Philharmonic; the choral sections were sung by a choir directed by Wen Talbert and the New York MacDowell Club, known as the Schola Cantorum. Talbert, a pianist, cellist, and jazz bandleader,{{Cite book|last=Brooks|first=Tim|url=https://books.google.com/books?id=Me4pGCCVrIgC|title=Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919|date=2004-02-24|publisher=University of Illinois Press|isbn=978-0-252-02850-2|location=Urbana, Illinois|pages=486}} led the Negro Chorus of the Federal Theatre Project, which performed in several Federal Theatre productions including Bassa Moona and How Long Brethren? (1937), a dance by Helen Tamiris.{{cite encyclopedia|title=Helen Tamiris|encyclopedia=Encyclopedia Britannica|date=2007-06-27|last=Tikkanen|first=Amy|url=https://www.britannica.com/biography/Helen-Tamiris|access-date=July 12, 2020|archive-date=May 5, 2019|archive-url=https://web.archive.org/web/20190505185616/https://www.britannica.com/biography/Helen-Tamiris|url-status=live}}{{Cite book|last=Manning|first=Susan|url=https://books.google.com/books?id=80dIBfJjBGsC|title=Modern Dance, Negro Dance: Race in Motion|date=2004|publisher=University of Minnesota Press|isbn=978-0-8166-3736-2|location=Minneapolis|pages=101|access-date=September 19, 2020}} The program also included a performance by Paul Robeson.{{Cite news|last=Taubman|first=Howard|author-link=Howard Taubman|date=1940-06-26|title=American Music Heard in Stadium|page=27|work=The New York Times|url=https://www.nytimes.com/1940/06/26/archives/american-music-heard-in-stadium-roy-harriss-and-william-g-stills.html|url-status=live|access-date=2020-07-12|issn=0362-4331|archive-date=July 12, 2020|archive-url=https://web.archive.org/web/20200712082049/https://www.nytimes.com/1940/06/26/archives/american-music-heard-in-stadium-roy-harriss-and-william-g-stills.html}}

A notice by Still's wife Verna Arvey in the New York Times in advance of the premiere wrote:

… Miss Chapin's poem is the voicing of her deep conviction that lynching is a serious flaw in the fabric of our American democracy, and her belief that this conviction is held by the majority of Americans in the South and the North.{{Cite news|last=Arvey|first=Verna|author-link=Verna Arvey|date=1940-05-26|title=New Cantata by Still|page=147|work=The New York Times|url=https://www.nytimes.com/1940/05/26/archives/new-cantata-by-still.html|url-status=live|access-date=2020-07-12|issn=0362-4331|archive-date=July 12, 2020|archive-url=https://web.archive.org/web/20200712075102/https://www.nytimes.com/1940/05/26/archives/new-cantata-by-still.html}}

Soon after And They Lynched Him, Still and Chapin collaborated for a second time on Plain-Chant for America (1941).{{Sfn|Shirley|1994|p=451}}{{Cite news|last=Arvey|first=Verna|author-link=Verna Arvey|date=1941-09-14|title=New Chapin-Still Collaboration|work=The New York Times|url=https://www.nytimes.com/1941/09/14/archives/new-chapinstill-collaboration-plain-chant-for-america-to-be.html|url-status=live|access-date=2020-07-12|issn=0362-4331|archive-date=July 12, 2020|archive-url=https://web.archive.org/web/20200712224448/https://www.nytimes.com/1941/09/14/archives/new-chapinstill-collaboration-plain-chant-for-america-to-be.html}} According to Chapin's New York Times obituary, she regarded the work as "her reaffirmation of democracy". The poem is dedicated to President Franklin D. Roosevelt.{{Cite news|last=Downes|first=Olin|author-link=Olin Downes|date=1941-10-24|title=New Work Given by Philharmonic|work=The New York Times|url=https://www.nytimes.com/1941/10/24/archives/new-work-given-by-philharmonic-plainchant-for-america-by-william.html|url-status=live|access-date=2020-07-12|issn=0362-4331|archive-date=July 12, 2020|archive-url=https://web.archive.org/web/20200712223942/https://www.nytimes.com/1941/10/24/archives/new-work-given-by-philharmonic-plainchant-for-america-by-william.html}}

In an article on Plain-Chant, Arvey quotes Chapin on the genesis of the work:

An American poem had been germinating in my mind for a long time, but the final circumstance that thrust it into being was the fact that I had spent a few days in the company of some persons who were sympathetic with the Fascists, whose talk showed me vividly the gap between totalitarianism and the American democracy in which I believed. The emotion of the poem began there; it found completion when we stood behind President Roosevelt in the sunshine at Key West … while he made a fine radio broadcast opening the San Francisco Fair.

Critics have generally regarded Chapin's work as skillful but unoriginal.

Harriet Monroe, reviewing Chapin's collection Outside of the World in Poetry in 1932, noted "the quietly meditative tone of the poems, the poet's sensitiveness to the beauty of common experiences, and her compact and imaginative expression of them".{{Sfn|Monroe|1932|p=168}} However, Monroe did express some reserve, seeing "nothing strikingly original" in the collection.{{Sfn|Monroe|1932|p=169}} Monroe thought "Nancy Hanks", a poem about the birth of Abraham Lincoln to Nancy Hanks Lincoln, was the "most ambitious poem in the book".{{Sfn|Monroe|1932|p=168}}

A New York Times review of Plain-Chant for America: Poems and Ballads (1942), although it compared Chapin's work favorably with that of e e cummings, criticized her for a perceived lack of "sensibility":

As in the case of John Peale Bishop, her poetry will augment the sphere of your sentiments without modifying your sensibility. Katharine Chapin has an ideology … but lacks a sufficient volume of texture in her technique to give her work the dualism of images and logical substance which makes for major poetry. … Katharine Chapin has in the main an ideology without a private sensibility to give her scope varied dimensions.{{Cite news|last=Swan|first=Maurice|date=1942-01-18|title=The New Books of Poetry|page=55|work=The New York Times|url=https://nyti.ms/328oIG9|url-status=live|access-date=July 12, 2020|archive-date=September 23, 2020|archive-url=https://web.archive.org/web/20200923030516/https://timesmachine.nytimes.com/timesmachine/1942/01/18/85508947.html?zoom=16}}

Seriousness and technical competence, even together, do not necessarily sustain one's interest in a group of poems. Katherine Garrison Chapin's The Other Journey makes that quite clear. It is hard to find anything actually wrong with the book except that it is not particularly exciting. … The whole book is curiously lacking in personal impact …{{Cite journal|last=Clower|first=Jean|date=December 1960|title=Four Poets|url=https://www.poetryfoundation.org/poetrymagazine/browse?volume=97&issue=3&page=49|journal=Poetry|volume=97|issue=3|pages=185–191 at 189|access-date=July 12, 2020|archive-date=July 13, 2020|archive-url=https://web.archive.org/web/20200713005800/https://www.poetryfoundation.org/poetrymagazine/browse?volume=97&issue=3&page=49|url-status=live}}

Robert Hillyer, however, reviewing The Other Journey in The New York Times, said it showed an "easy lyric grace" and "unobstructed communication".{{Cite news|last=Hillyer|first=Robert|author-link=Robert Hillyer|date=1960-04-10|title=Selected Poems, Each Voice His Own|language=en-US|work=The New York Times|url=https://www.nytimes.com/1960/04/10/archives/selected-poems-each-voice-his-own-encounters-by-danizl-berrigan-78.html|access-date=2020-12-22|issn=0362-4331}}

Turner, in a biographical sketch, writes that "in poetic technique [Chapin] is barely influenced by the modernist poets. Her lyrics are chiefly in rhyme and meter, controlled but not exceptionally tight or brilliant, and in no way innovative".{{Sfn|Turner|1979|p=334}}

The Academy of American Poets nominated Chapin for the Presidential Medal of Freedom in 1975.{{cite news|title=Nixon's Financial Woes Touches Some People|work=The Galveston Daily News|date=March 8, 1975|url=https://www.newspapers.com/clip/68081566/the-galveston-daily-news/|via=Newspapers.com|page=4}} The nomination was endorsed by several senators and Nelson Rockefeller, the Vice President of the United States,{{Cite web|last=|first=|date=|title=President - Medals Medal of Freedom|url=https://www.fordlibrarymuseum.gov/library/document/0019/4520793.pdf|archive-url=|archive-date=|access-date=|website=Gerald R. Ford Presidential Library|page=46}} but she was ultimately not selected for the honor.

Chapin's play Sojourner Truth, about the early years of the historical figure of the same name, was produced by the American Negro Theater in 1948.{{Cite web|title=Sojourner Truth theater stills collection|url=https://ilsstaff.nypl.org/record=b11545339|url-status=live|archive-url=https://web.archive.org/web/20200712065558/https://ilsstaff.nypl.org/record=b11545339|archive-date=July 12, 2020|access-date=2020-07-12|publisher=New York Public Library}}{{cite news|last=van Rensselaer Thayer|first=Mary|title=Katherine Chapin's Play Revives Interest in Story of Sojourner Truth|newspaper=The Washington Post|date=May 4, 1948|page=B6|id={{ProQuest|152027632}} }} It was directed by Osceola Macarthy Adams (by then known as Osceola Archer) and starred Muriel Smith. According to a lecture by Josephine Jacobsen, Sojourner Truth "ran for many weeks in Harlem".{{Cite book|last1=Jacobsen|first1=Josephine|author-link=Josephine Jacobsen|chapter=From Anne to Marianne|url=https://archive.org/details/twolectureslefto00stafrich|title=Two Lectures|year=1973|publisher=Library of Congress|isbn=0-8444-0049-1|oclc=532263|page=26}}

• {{Cite journal|date=November 1941|title=The Quality of Poetry|url=https://www.poetryfoundation.org/poetrymagazine/browse?volume=59&issue=2&page=32|journal=Poetry|volume=59|issue=11|pages=90–95|issn=0032-2032}}
• {{Cite journal|date=1970|title=Poet of Wide Horizons: A Note on Saint-John Perse|journal=The Quarterly Journal of the Library of Congress|volume=27|issue=2|pages=104–108|jstor=29781389|issn=0041-7939|last1=Chapin|first1=Katherine Garrison}}

• The Tapestry of the Duchess (play, 1925). Unpublished.
• Sojourner Truth (play, 1948). Unpublished.

• {{Cite journal|date=March 1936|title=Sixth Sense; Moon Shadow; At Gettysburg; Monument |url=https://www.poetryfoundation.org/poetrymagazine/browse?volume=47&issue=6&page=24|journal=Poetry|volume=47|issue=6|pages=318–321|issn=0032-2032|jstor=20580315}}
• {{Cite journal|date=January 1942|title=Interval of Peace; Holiday 1941; Pastorale; Evening; This Lonely Light|url=https://www.poetryfoundation.org/poetrymagazine/browse?volume=59&issue=4&page=30|journal=Poetry|volume=59|issue=4|pages=204–207|issn=0032-2032|jstor=20582869}}
• {{Cite journal|date=May 1958|title=Butterflies|url=https://www.poetryfoundation.org/poetrymagazine/browse?contentId=27644|journal=Poetry|volume=92|issue=1|pages=77|issn=0032-2032|jstor=20586974|last1=Chapin|first1=Katherine Garrison}}

• {{Cite book|title=Outside of the World|date=1930|publisher=Duffield and Company|location=New York|language=en|oclc=771159}}
• {{Cite book|title=Bright Mariner|publisher=Duffield and Green|year=1933|location=New York|oclc=1051582715}} Chapbook featuring woodcuts by Wharton Esherick, written to memorialize Chapin's son Garrison after his death at age 7.{{sfn|Dennett|2016|pp=193, 218}}
• {{Cite book|date=1936|title=Time Has No Shadow|url=https://archive.org/details/timehasnoshadow00chap|url-access=registration|via=Internet Archive|location=New York|publisher=Dodd, Mead & Company|oclc=609639224}}
• {{Cite book|title=Lament for the Stolen: A Poem for a Chorus|date=1938|publisher=Centaur Press|location=New York}}
• {{Cite book|title=And They Lynched Him on a Tree: For Double Mixed Chorus and Contralto Solo, Narrator and Orchestra|date=1941|publisher=J. Fischer & Brothers|location=New York}}
• {{Cite book|title=Plain-Chant for America: Poems and Ballads|publisher=Harper|year=1942|location=New York|oclc=610576110}}{{cite news|date=January 18, 1942|title=Belonging To Life|page=76|work=Hartford Courant|url=https://www.newspapers.com/clip/88327368/belonging-to-life/|via=Newspapers.com}}
• {{Cite book|title=Harbor Night|publisher=Carl Fischer|year=1945|location=New York|oclc=10133549}} A poem set to music.
• {{Cite book|title=The Other Journey: Poems New and Selected|publisher=University of Minnesota Press|year=1959|location=Minneapolis|oclc=8063762|jstor=10.5749/j.cttts7xx|last1=Chapin|first1=Katherine Garrison|isbn=9780816671281}}

{{Notelist}}

{{Reflist}}

• {{Cite book|chapter=Chapin, Katherine Garrison|editor-last1=Block|editor-first1=Maxine|editor-last2=Rothe|editor-first2=Anna|title=Current Biography|publisher=H. W. Wilson Company|location=New York|language=en|oclc=1029009174|pages=121–123|year=1944}}
• {{Cite book|last=Dennett|first=Laurie|url=https://books.google.com/books?id=iiFQDQAAQBAJ|title=An American Princess: The Remarkable Life of Marguerite Chapin Caetani|date=2016|publisher=McGill-Queen's University Press|isbn=978-0-7735-4818-3|location=Montreal}}
• {{Cite journal|last=Monroe|first=Harriet|author-link=Harriet Monroe|date=June 1932|title=Slight Songs, Review of Outside of the World by Katherine Garrison Chapin|url=https://www.poetryfoundation.org/poetrymagazine/browse?volume=40&issue=3&page=51|journal=Poetry|volume=40|issue=3|pages=168–169|issn=0032-2032|jstor=20578561}}
• {{Cite book|last=Reef|first=Catherine|title=William Grant Still: African-American Composer|date=2003|publisher=Morgan Reynolds Publishing|isbn=1-931798-11-7|oclc=51752187|url=https://archive.org/details/williamgrantstil0000reef|url-access=registration}}
• {{Cite journal|last=Shirley|first=Wayne D.|date=Winter 1994|title=William Grant Still's Choral Ballad And They Lynched Him on a Tree|journal=American Music|volume=12|issue=4|pages=425–461|doi=10.2307/3052342|jstor=3052342}}
• {{Cite book|last=Turner|first=Alberta|editor-last=Maniero|editor-first=Lina|chapter=Katherine Garrison Chapin|volume=1|pages=334–335|title=American Women Writers: A Critical Reference Guide from Colonial Times to the Present|url=https://archive.org/details/americanwomenwri01main|url-access=registration|via=Internet Archive|oclc=892809579|isbn=9780804431514|location=New York|publisher=Frederick Ungar Publishing Company|date=1979}}

{{Archival records}}

• [https://findingaids.library.georgetown.edu/repositories/15/resources/10155 Chapin's papers] at Georgetown University Library
• Recordings of Chapin reading her poetry from the Library of Congress and Harvard Library
• [https://www.loc.gov/item/94838383/ Library of Congress]
• [https://sds.lib.harvard.edu/sds/audio/482148916 Harvard Library (1)]
• [https://sds.lib.harvard.edu/sds/audio/482149855 Harvard Library (2)]

{{Authority control}}

{{DEFAULTSORT:Chapin, Katherine Garrison}}

Category:1890 births

Category:1977 deaths

Category:20th-century American dramatists and playwrights

Category:20th-century American women writers

Category:American librettists

Category:American women poets

Category:Columbia University alumni

Category:People from Murray Hill, Manhattan