Madeleine Ruthven’s poems keep changing the distance. One moment she is close enough to see mountain fog pearl in moonlight or a yucca flower burn white against chaparral; the next she is measuring wildfire across sixty miles, a car skidding at the edge of death, or the Chrysler Building as the exhausted monument of an age. Her eye was trained by silent pictures and early sound film—quick framing, hard cuts, exact visible detail—but her conclusions rarely offer cinematic comfort. Ruthven knew Hollywood from the inside, writing stories, titles, treatments, and screenplays while building another life among Los Angeles poets, printers, artists, and political organizers. The recovered poems move between comic malediction, urban modernity, technological danger, and the people, plants, fire, and weather of the Santa Monica Mountains. Though only part of her poetry can presently be read, these works reveal a precise, unsentimental writer whose California landscapes repeatedly open onto larger pressures of history and mortality.
Ruthven, Madeleine. Summer Denial and Other Poems. Jake Zeitlin and the Primavera Press, 1932.
———. Sondelius Came to the Mountains. Primavera Press, 1934.
———. “The Mountain Road.” Poetry, October 1936.
———. “Chrysler Building.” Poetry, May 1937.
———. “Yerba Buena: Epilogue.” In Sondelius Came to the Mountains. Primavera Press, 1934.
Anne T. Chapman Papers. Archival description.
Guldimann, Suzanne. “Madeleine Ruthven: Poet of the Mountains.” The Malibu Post, July 3, 2016.
John Howell for Books. Description of Summer Denial and Other Poems.
Museum of Ventura County. “The Big Ranch Fight.” Includes an epilogue on Ruthven and Sondelius Came to the Mountains.
Vaughn, Robert. Only Victims: A Study of Show Business Blacklisting. Putnam, 1972.