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He was devoted to the craft of poetry and to the rhythm and the sound; to the words and to the passion that drives poetry. For Richard Hugo, Carolyn Kizer, James Wright, David Wagoner, Tess Gallagher -- he convinced them that they had it in them to make poems." I mentioned that years ago I had sat in on some of Richard Hugo's undergraduate poetry-writing classes at the University of Montana.He instilled the love of poetry in everyone that he taught. "I was amazed," I said, "at how kind Hugo was to his students. I don't think he was so insanely kind." "Who was Roethke's most important teacher?
This sense of the natural world is buried deep within him because it was his childhood world." "And that world is always what he's trying to get back to." "Absolutely.
Other than 'My Papa's Waltz,' I would say that Roethke is most known for his greenhouse poems -- 'Cuttings,' 'Root Cellar,' 'Forcing House,' and various others." Nothing would sleep in that cellar, dank as a ditch, Bulbs broke out of boxes hunting for chinks in the dark, Shoots dangled and drooped, Lolling obscenely from mildewed crates, Hung down long yellow evil necks, like tropical snakes. Roots ripe as old bait, Pulpy stems, rank, silo-rich, Leaf-mold, manure, lime, piled against slippery planks. But I think what's really special about Roethke was it was everywhere in his childhood. Because of that, the greenhouse was his entire world.
The dogs are clapt and urged to join the fray; The badger turns and drives them all away. I think she's a clear influence on Roethke also in the way she structured a poem." Hirsch writes in his introduction that Roethke "loved the catchy, strongly stressed rhythms of children's verse." "You really hear those rhythms in the poems," Mr. "You can hear it in his work." "And in his own life," I said, "he was in many ways a big, chubby child." "A big bear of a man," Mr.
Though scarcely half as big, demure and small, He fights with dogs for hours and beats them all. Hirsch added, "with a lot of childish traits." "Part of Roethke's great contribution to American poetry was his work as a teacher.
I think that his anxiety was such that he often got drunk and acted badly at such parties.
I think he never felt comfortable in those circles." "The East Coast folks," I said, "seemed never to accept and like Roethke in the way, as an instance, they did Robert Lowell." "I think that's actually right.
In the words of editor Edward Hirsch, "He courted the irrational and embraced what is most vulnerable in life." Hirsch's selection and perceptive introduction illuminate the daring and intensity of a poet who, in poems such as "My Papa's Waltz" and "The Lost Son," reached back into the abyss of childhood in an attempt to wrest self-knowledge out of memory.
Roethke's true subject was the unfathomable depths of his own being, but his existential investigations were always shaped and disciplined by an exacting formal stringency, as equally at ease with Yeats's vigorous cadence ("Four for Sir John Davies") as with the spacious Whitmanian idiom on display in the virtuoso efforts of This gathering of Roethke's works also includes several of his poems for children, and a generous sampling from his notebook writings, offering a glimpse of the poet at work with the raw materials of language and ideas.
He wrote in his letters that when poets write about nightingales, they don't know how nightingales actually sing. Clare is presenting a corrective to romanticized versions of the natural world.
So in Clare, when you get a badger, you get a real badger running how a badger really runs." From Clare's "The Badger": When badgers fight, then every one's a foe. Because he knows it so well." "Emily Dickinson got it right." "Yes, I agree about that.