REVIEW & COMMENTARY
A MAN FOR ALL SEASONS:
Mortal, Masculine and Worldly
A New Selected Poems by Galway Kinnell©
2000
Houghton
Mifflin: NY 173pp. Hardcover. $25.
Galway Kinnell is a poet of earthy music who boosts the spirit
and palliates the soul. There is no solipsistic experiment
in language here, but an original voice giving detail to reality,
the natural world, sexual union, earthly and manly concern.
Selected here is an overview of a lifetime's output of poetry
from one of America's most masculine and exuberant poets,
one of fresh language and novel conviction who writes about
real life and its earthy adventures. Often, Kinnell finds
transcendence through immersion in the wonders of a sought-out
wilderness.
I love the earth, and always,
in its darkness, I am a stranger. [Middle of the Way"
p.39]
The rest of my days I spend
wandering: wondering
what, anyway,
was that sticky infusion, that rank flavor of blood, that
poetry, by which
I lived. ["The Bear" p. 65]
Since
his first collection,What a Kingdom It Was, 1960, Galway Kinnell's
voice has, over time, settled into a calmer, self-assured
tone. "The Avenue Bearing the Initial of Christ Into
the New World," was a long rhapsodic poem in fourteen
sections which strove for epic proportion. In his first full-length
collection published in 1960 and republished in a 1974 collection
of that title -- it was full of variant voice, and differing
poetic techniques. It embodied an exhilarating observation
of the life around him on the lower East Side of The City.
It was passionate and often sardonic in tone -- aware of the
absurdities of urban civilization. That tone can still be
found between more measured passages of his later transcendent
poems.
And yet I can rejoice
that everything changes, that
we go from life
into life.
And enter ourselves
quaking
like the tadpole, its time come, tumbling toward the slime.
The
current collection: A New Selected Poems , 2000, follows by
eight years, Selected Poems, 1982 -- which won The Pulitzer
Prize and National Book Award -- and comes after the publication
of four ensuing collections: The Past, 1985, When One Has
Lived A Long Time Alone, 1990, Three Books, 1993; and Imperfect
Things, 1994. The new book allows us to graze through the
mutations in Kinnell's poetic articulation. Though distinctive
in voice, there are several poems with a Whitmanesque cadence
-- such as "The Road Between Here and There," from
The Past, published in 1985, close to the period when Kinnell
was editing The Essential Whitman, published in 1987. For
the most part Kinnell's lyrics are composed of long, single
stanzas. Whatever form Kinnell adopts, he does it justice
and makes it his own -- always grappling with earthy and full-bodied
themes. Kinnell has been accused of harboring "bathos
and heavy-handed lust" in some of his poems, but no doubt
by lesser men who can't understand a passionate desire for
women and who have not participated so fully in nature's awful
beauty. There is none of the, stylish -- in some quarters
-- solipsistic world of effete and decadent experiment operating
in Kinnell's writing. He has real things to say about an actual
world of flesh and bone and excrement, full of nature's glories
and horrors, always viewed from within the reality of our
gutsy, animal being, our need to survive from the land and
its vulnerable animal life, a world poignant with transient
beauty and helpless mortality.
And,
Kinnell's fatherly poems about his children are some of the
most satisfying on that theme in our American canon. One might
say that he is one of the truly masculine men writing poetry
of note in America today -- of which let's hope there are
many more less known to us who spare him their jealousy. Kinnell's
poetry is one in which events occur, women and men make love,
people and animals are born, live and die, the earth blossoms
and freezes, burns and churns, and the "mortal acts"
of living take place. It is not made of mere cerebral machinations
or inward glances, but of acute observation -- though often
there is an inwardness of thought accompanying the events
and there is enough intellect to satisfy the mind living fully
within it's body.
In
contrast to Kinnell's exuberance, there is often a sorrowful
tone, especially evident, perhaps, in the poems from Flower
Herding on Mount Manadnock. The sorrow is of how beauty is
transient as life ends often at the moment of its greatest
flowering. It's a sadness born of the awesome moment as it
passes into oblivion -- as we all do and must. Kinnell's is
a universal sorrow that gives joy all it's contrast.
Sometimes
Kinnell seems to be working from form in order to inspire
himself to write, as in the sequence selected here from When
One Has Lived A Long Time Alone -- yet the form works for
him and he uses it to his advantage to create fresh and nuanced
response to experience. There is interesting psychological
subject matter in some of Kinnell's poems, especially in the
section from Imperfect Thirst, that other poets haven't dared
to tackle with such candid diction. The poem titled: "My
Mother's R & R " is one such wherein two small boys,
one speaker of the poem, and the other, his brother, boldly
crawl into bed with their languishing mother to suckle each
at one of her breasts only to be pushed away. It depicts an
unresponsive mother -- sleeping late while her boys go hungry.
....two small
hungry boys, enflamed and driven off
by the she-wolf. But we had got our nip,
and in the empire we would found,
we would taste all the women and expel
each as she came to resemble her.
The
power to give or withhold sustenance -- a mother's domain
-- is expressed in the term "She wolf" as the poet
goes on to explore how anger over the mother's power can cause
men, as they grow into manhood, to seek sexual and emotional
power over women. This is a theme that feminists might explore
more fully in their attempts to understand the battle of the
sexes -- one told from a man's point of view in candid and
masculine timbre -- an implication worth noting, achieved
without preaching, with subtle effect.
Recently,
the critic, Marjorie Perloff -- in a symposium held at Cooper
Union by the Poetry Society of America on "Poetry Criticism:
"What is it for?" -- made a blatant pronouncement
saying how tired she is of poetry that isn't experimental
or different.As we all know she is a champion of Charles Bernstein's
"Language School," now swiftly becoming passe--
as most of the poetry it produced had nothing to grip the
soul and spirit for long. That short-lived school, claiming
to explore new territory, was merely an imitation of the same
experiments that more venerable poets like Jackson McClough
or Armand Schwerner, as well as John Ashbery, had already
explored, soon followed by Richard Kostelanetz and many others.
Kostelanetz magazine, Assembling, published through the seventies
had enlisted every sort of language experiment in its democratic
style. Anyone was allowed to reproduce an experimental work
and send it to Kostelanetz for inclusion. He would assemble
and distribute the pages, and thus Assembling was open to
every sort of experiment with language early on. Wright, Bly
and Kinnell were then busy exploring Lorca, and Latin American
writing, and involved in the "Deep Image" school.
Bly's magazine titled The Sixties and then, The Seventies
explored the idea of incorporating deep symbolic imagery that
could speak volumes in one line. This idea of poetic creativity
is still alive, well and kicking across the board of poetic
endeavor, even as the "Language School" along with
Bernstein's convoluted conceptualism is boring many. Yet,
Marjorie Perloff claims that no one knows who James Wright
is anymore and no one reads the old boys, Kinnell, Bly these
days.
Judging
from my recent sojourn at The Peoples' Poetry Gathering in
New York in March 2001, she couldn't be more wrong. The Great
Hall was packed with Kinnell and Bly admires and fans lined
up to buy their books. These men still draw enthusiastic audiences
who cheer and applaud, laugh and cry with them.
I
couldn't believe that Perloff's sweeping statements were correct,
so, I went to Amazon.com to check sales figures on Charles
Bernstein or Jorie Graham in relation to Galway Kinnell, Robert
Bly and James Wright. Indeed, Graham's last book Swarm, was
thoroughly panned by the critics who in effect said, "The
emperor has NO new clothes!" I found that, quite clearly,
Kinnell is still outselling poets like Berstein or Graham,
and is actually more widely read than Ashbery, too. I suspect
that Bly and Wright might also be more read than Bernstein
or Graham, as well. Margorie Perloff may be living in a rarified
world in which many lovers and readers of poetry don't abide.
Sorry, Marjorie,it's your idea of "new" which has
quickly become "old"--mainly because it had nothing
to offer the faltering spirit in this decadent world of nonsensical
art and commercial din. We need more meaning, not less, more
humane depth, not word play and abstracted theory!
Kinnell's
work speaks to the human experience here on this visceral
earth and seems as fresh as the day he wrote it. It's as relevant
to today's reader as ever, but it may be true that a city
dweller or suburbanite who has never lived in a forest among
birds, bears and deer might not appreciate some of his references
and intimate knowledge of the ways of the natural world.Yet,
he has plenty of urban poetry to offer, and a wry sense of
humor, too.There are many of us who have and do live in rural
settings to whom Kinnell's intimacy with nature speaks very
profoundly and more importantly than ever. There is nothing
rarified about the natural world which sustains our very lives,
our ability to feel, see, breathe and write as well as read.
Perloff should attempt to live in it more fully, and learn
its ways apart from all bookishness--then she might not decry
what she calls "nature poetry" so easily. She too,
might gain an appreciation for that which sustains life on
the planet and stop appreciating all that fiddling that is
going on while Rome burns. Yet, an affinity with nature is
not necessary to an appreciation of Kinnell's poetry, though
it might most certainly deepen it.
The
poems in the new collection are gleaned from nine books written
between 1960 and 1994, including The Book of Nightmares, Body
Rags, and Mortal Acts, Mortal Words -- and those already mentioned
above. Occasional revisions are noted by Kinnell in a prefatory
note. The life of this fine American poet is glanced in a
journey through the collections from childhood through the
early death of his brother and the later one of his sister,
through an exhilarating youth in New York City, through marriage,
children, divorce, solitude and a rebirth through new love,
with final contemplations of the sureness and mystery of death.
As in these lines near the end of the collection, from "Sheffield
Ghazal 5: Passing the Cemetery," Imperfect Thirst.
The human brain may be the brightest place on earth.
At death the body becomes foreign substance; a person who
loved you
may wash and dress this one you believed for so long was you,
Galway, a few embrace the memory in it, but somewhere else
will
know it and welcome it.
If
one hasn't had the opportunity to read or own Kinnell's individual
collections through the years, here's a chance to own a hearty
sampling of the pivitol output, through a lifetime, of one
of our truest and finest American poets.
Daniela
Gioseffi is an American Book Award winning poet who has published
ten books of poetry and prose. Her latest books of poetry
are Eggs in the Lake (Boa Editions, Ltd.) ; Word Wounds and
Water Flowers and Going On Poems 2000 (Via Folios @ Purdue
University.) She has won two New York State Council for the
Arts grant awards in poetry and published numerous poems in
anthologies and literary magazines such as The Paris Review,
The Nation, Chelsea, Choice, Ms. Poetry East, Prairie Schooner,
and Antaeus. She edits Wise Women's Web, now PoetsUSA.com,
a magazine of literature and commentary, nominated for Best
of the Web, 1998. Daniela is a freelance reviewer for several
journals, on and off line, among them The Cortland Review,
The American Book Review, The Hungry Mind Review, The Small
Press Review, Poet Lore, and Independent Publishing. She has
been a member of The National Book Critics Circle since 1979
and gives talks and readings around the country at many campuses,
libraries and book fairs. She read for NPR and the BBC and
published two award winning multicultural compendiums: WOMEN
ON WAR: International Voices for the Nuclear Age (Touchstone:
NY) soon to be reissued anew by The Feminist Press, and ON
PREJUDICE: A GLOBAL PERSPECTIVE (Anchor/Doubleday, 1993.)
She began her career as a novelist with The Great American
Belly from Doubleday/Dell, 1979, and published a 1997 collection
of short stories: In Bed with the Exotic Enemy, Avisson Press;
NC.
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