Charlotte Mew's work had already attracted the interest of Ezra Pound when, in 1912, Alida Monro spotted the poem, "The Farmer's Bride", in a copy of The Nation and was "electrified". She immediately committed the verses to memory. In the following year, Alida and her husband, the Georgian poet Harold Monro, started up the Poetry Bookshop in Theobalds Road, near the British Museum. Not only a shop and a poets' meeting place, it was also a publishing venture dedicated to the work of younger writers. In 1916, the press brought out the 17 poems that form Charlotte Mew's strikingly original first collection, The Farmer's Bride.
Charlotte Mew (1869-1928) also wrote short stories, and perhaps it was her prose-writing that led to a notably elastic treatment of the poetic line. Pound, who published another fine poem, "The Fete", in his journal The Egoist, must have admired her musicality, her vivid, naturalistic speech rhythms. Though she never seems to have written free verse, she was unafraid to mix meters and experiment with different line-lengths. It's said that she asked that the poems of The Farmer's Bride should be typeset sideways, so as to accommodate those with unusually long lines.
Mew's poems amount to a slender but remarkable body of work. She brings to Georgian poetry not only a distinctive technique but an unusual, in many ways un-English, sensibility. She read widely in French, and in her younger days frequently visited Paris and Brittany. She was attracted by Catholicism, and there is a sensuous, Southern colour in much of her work.