Reportedly the portrait had been inspired by the flamenco dancer La Argentina, whom Stein and Toklas had admired when they were in Spain in 1913. How then could the first evocation of the dancer be dominated by the highly un-Spanish association of tea on a tray? I did not find poetic peace that night…The next morning, however, […] I suddenly heard it. "Sweet tea": sweetie. It was a revelation that changed the entire portrait for me.

Gertrude Stein has a very different way of writing poems. Instead of foregrounding the denotation of words, she often writes by associating their sounds. In this way, reading a Stein poem is like listening to music. Stein’s poetry is influenced by cubism and especially the paintings of Picasso and Matisse. She often writes poems similar to the way that these artists use paint by trying to represent an object abstractly and in many different ways simultaneously. In “Susie Asado,” Stein creates a portrait (one might compare it to the tradition of the portrait in painting).

Sassoon, Siegfried Loraine (1886–1967), poet and writer, was born on 8 September 1886 at Weirleigh, Brenchley, near Paddock Wood in Kent, the second of the three sons of Alfred Ezra Sassoon (1861–1895), financier and sculptor, and his wife, Georgiana Theresa (1853–1947), daughter of Thomas Thornycroft and Mary Thornycroft, sculptors, and sister of Sir J. I. and Sir W. H. Thornycroft. He was educated at Marlborough College (1902–4) and Clare College, Cambridge (1905–6), of which he was later an honorary fellow.

Owen, Wilfred Edward Salter (1893–1918), poet, was born at Plas Wilmot, near Oswestry, Shropshire, on 18 March 1893, the eldest of the three sons and one daughter of Thomas (Tom) Owen (1862–1931), railway clerk, of Plas Wilmot, and his wife, (Harriett) Susan (1867–1942), daughter of Edward Shaw JP, ironmonger and former mayor of Oswestry. His father was transferred to Birkenhead in 1898, and between 1899 and 1907 Owen was educated at the Birkenhead Institute.

In Robert Frost’s grim little poem. “The Vanishing Red,” the mere presence of “the last Red Man” in a Maine town so angers a miller that he murders the Indian.

“The Vanishing Red,” a brutal and callous tale that is probably Frost’s most controversial poem.

The images in the poem "The Vanishing Red" by poet Robert Frost stay with a reader for many years. The narrative of a murder and the starling imagery of the mill all play into the tenacity of this poem and lend to it's lasting quality as a piece of substantial literature of the twentieth century. This is at odds with the explicated narrative of the poem, which instead describes a forgetful nation that makes its way on the broken backs and death of a people it is quick to forget.

The final blood of the Indians in Frost's poem "The Vanishing Red," dyes a millstream red after the last Indian in Acton, a town near Boston, has been thrown down among the grinding stone millwheels, "He is said to have been the last Red Man / In Acton," "Poking about in the mill," John, the last Indian, makes a "guttural," a savage, sound the miller finds disgusting, perhaps an insult to his mill machinery, A narrator describes John's end:

He took him down below a cramping rafter.

And showed him, through a manhole in the floor.