- The Poetry of Robinson Jeffers: An Introduction (from The Selected Poetry of Robinson Jeffers)
- Jeffers’ Poetry: Chronology and Contexts (from Volume Five of The Collected Poetry of Robinson Jeffers)
In the summer of 1965, I was fifteen and hated poetry. That changed when I happened on the work of Robinson Jeffers (1887-1962) in the Sebastopol Public Library (thank you, Andrew Carnegie). In the 1920s and 1930s Jeffers had been hailed as a major American poet. In 1965 T.S. Eliot ruled the canon. Jeffers’ collections were mostly out of print and his poems mostly absent from the major teaching anthologies that, in practice, defined the tradition. In 1965 Ezra Pound, William Carlos Williams, H.D., and Wallace Stevens were finally starting to receive the recognition they and their work deserved and renewed attention to Langston Hughes, Edna St. Vincent Millay, and others would soon follow. Jeffers, though, was a footnote in critical and historical discussions of American poetry—and barely that.
In the decades since, I’ve continued to read and think about Jeffers’ work. Editing The Collected Poetry of Robinson Jeffers (a five-volume project published by Stanford University Press) is the most obvious result. But the questions posed by Jeffers’ poetry have also factored into my thinking about writing as a textual medium (a strand of reflection taken up elsewhere on this site), my own poetry, and (most relevant here) my thinking about the American poetic tradition, especially in the first half of the twentieth century, which we tend to think of as the era of modernism.
The thumbnails for The Collected Poetry, The Selected Poetry, Jim Karman’s masterful The Collected Letters, and The Point Alma Venus Manuscripts link to the Stanford University Press website pages for these projects. Those interested in Jeffers may also want to explore the programs and resources of The Robinson Jeffers Association and The Tor House Foundation.
The links below provide access to various articles and conference papers that I’ve written over the years. A few focus on editorial matters, and several are informed by the research involved in preparing The Collected Poetry, but most of them explore Jeffers’ poetry from various critical and historical perspectives. In the coming year or two I expect that some of these pieces will be reworked and folded into the oft-disrupted and long-deferred book on Jeffers in the context of modern and modernist poetry. In the meantime, they are posted here on the chance they might be of use and interest.
[This page and the material related to it is being reorganized and new material being added. The reorganization should be completed by early December]
Articles, Notes & Papers:
- “Why Did Jeffers Omit ‘Shine, Perishing Republic’ from Tamar and Other Poems How Might It Matter?”
- “Problematic Authority: The Beginning and the End as an Edition of Jeffers’ Last Poems”
- “’tho this is my last tale’”: When Did Jeffers Write the First Version of Point Alma Venus?”
- “The Story the Story of Jeffers’ ‘Metempsychosis’ Tells”
- “’It is out of fashion to say so’: The Language of Nature and the Rhetoric of Beauty in Robinson Jeffers”
- “Constructed Witness: The Drama of Presence in Jeffers’ Lyric Voice”
- “‘Walls on a rock above the sea’: Tor House as Place and Figure in the 1919 Poetry of Robinson Jeffers”
- “Mornings in Hell”: Jeffers’ Struggle with Politics in The Double Axe
- Jeffers’ Roan Stallion and the Narrative of Nature
- The Problematic Nature of Tamar and Other Poems
- A Poetics of Witness: Jeffers’ “Salmon Fishing” and the Apology in “Apology for Bad Dreams”
- Jeffers: Craft & Reputation
- “Hurt Hawks”
- “Salmon Fishing”
- The Women at Point Sur (“Taking the Hawk’s Place”)
- Aesthetics & Politics in Jeffers’ WW II Poetry
- The Double Axe & the Censorship Question
- The Thickening Empire: Jeffers’ Struggle with History
- Jeffers’ “Pearl Harbor” (To Date or Not to Date)
- Didactic Confession: Where Does Jeffers “Sign-Post” Point?
- Constructed Sincerity: Voice and Nuance in Jeffers’ Short Poems
- Jeffers and “The Palace” of Tradition
- “The Great Wound” and the Problem of Reading The Beginning and the End
- Jeffers, Wordsworth & Narrative
- Jeffers and Modernism