Book Description
"One of the most promising young poet-critics in America" (Los Angeles Times) examines a revolutionary generation of poets. Robert Lowell, Elizabeth Bishop, Sylvia Plath, John Berryman, Randall Jarrell, and Delmore Schwartz formed one of the great constellations of talent in American literature. In the decades after World War II, they changed American poetry forever by putting themselves at risk in their poems in a new and provocative way. Their daring work helped to inspire the popular style of poetry now known as "confessional." But partly as a result of their openness, they have become better known for their tumultuous lives—afflicted by mental illness, alcoholism, and suicide—than for their work. This book reclaims their achievement by offering critical "biographies of the poetry"—tracing the development of each poet's work, exploring their major themes and techniques, and examining how they transformed life into art. An ideal introduction for readers coming to these major American poets for the first time, it will also help veteran readers to appreciate their work in a new light. 6 illustrations.
About the Author
Adam Kirsch, author of The Thousand Wells, has written for The New Republic and The New Yorker. The book critic of the New York Sun, he lives in New York City.
The Wounded Surgeon: Confession and Transformation in Six American Poets (Robert Lowell, Elizabeth Bishop, John Berryman, Randall Jarrell, Delmore Schwartz and Sylvia Plath) FROM THE PUBLISHER
One of contemporary poetry's emerging young critics, akin to Sven Birkerts, attempts to explore the particular genius of six poets called The New Poets, or The Middle Generation.
FROM THE CRITICS
Library Journal
New York Sun book critic Kirsch (The Thousand Wells) understands poetry as both a critic and a practitioner. Here he reevaluates the work of six leading lights of 20th-century American poetry: Robert Lowell, Elizabeth Bishop, John Berryman, Randall Jarrell, Delmore Schwartz, and Sylvia Plath. He sees this group as reacting against T.S. Eliot's insistence that poetry be impersonal and opening the art form up to include an emotional honesty that was previously veiled in allusion and ambiguity. At the same time, he takes exception to the term confessional, often used to describe this group of poets. Through detailed analyses of each poet's work, he illustrates that they were not simply spewing autobiographical pap (as did the worst of their imitators), but that each had a commitment to poetry as an aesthetic rather than a therapeutic pursuit. Recommended for academic and larger public libraries.-Alison M. Lewis, Drexel Univ. Lib., PA Copyright 2005 Reed Business Information.
Kirkus Reviews
An examination of the work of six so-called "confessional" poets-Robert Lowell, Elizabeth Bishop, John Berryman, Randall Jarrell, Delmore Schwartz, and Sylvia Plath-all schooled in modernism and poised to break the rules. New York Sun book critic Kirsch calls these poets "rebellious heirs" of T.S. Eliot, who famously dictated that poetry should not be "the expression of personality, but an escape from personality." Indeed, Lowell et al. were trained variously by New Critics, yet all transcended the heroic strictures of modernism by artfully working into their poetry the inner demons of their personal lives, which often involved mental illness, alcoholism, or suicide. Kirsch proposes a "brief biography of their poetry" by dropping in a few details from their lives only to show how brilliantly they reworked the material for effect. Beginning with Lowell, Kirsch quotes Allen Tate's appalled warning-after reading Life Studies in manuscript, he declared, "the poems are composed of unassimilated details, terribly intimate, and coldly noted . . . of interest only to you"-then proceeds to analyze Lowell's masterly manipulation of the material. Bishop's "experiments in control" are set against Schwartz's "pedestrian" attempts at reconciling art and life through artful spontaneity and innovation. By juxtaposing his childhood as a Brooklyn Jewish immigrant with that of the children of Tsar Nicholas II, for example, in the poem "The Ballad of the Children of the Czar," Schwartz was the first who dared to dignify (and elevate) an intimate, shameful experience. Kirsch admirably works through Berryman's "harrowingly intimate" poetry, which emerged despite his zealous apprenticeship under Yeats,contrasting him with Jarrell, who responded to the "burden" of breaking from Modernism by "respectful, self-protective evasion." The essay on Plath sheds no new light, but demonstrates a perceptive restraint when comparing her "juvenilia" with the ferocious, mature style of later work that transformed her experience "beyond recognition." Thoughtful studies by an evenhanded critic that will no doubt urge readers back to the original texts.
Art & Photography
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