Posts Tagged ‘obituaries’
November 29, 2014 | by Dan Piepenbring
When I read poetry, I want to feel myself suddenly larger … in touch with—or at least close to—what I deem magical, astonishing. I want to experience a kind of wonderment. And when you report back to your own daily world after experiencing the strangeness of a world sort of recombined and reordered in the depths of a poet’s soul, the world looks fresher somehow. Your daily world has been taken out of context. It has the voice of the poet written all over it, for one thing, but it also seems suddenly more alive … —Mark Strand, The Art of Poetry No. 77, 1998
Mark Strand died today at eighty, we were sorry to learn. When Wallace Shawn interviewed him for The Paris Review in 1998—a year before he won the Pulitzer Prize for his collection Blizzard of One—Strand described his relation to death: “It’s inevitable. I feel myself inching towards it. So there it is in my poems. And sometimes people will think of me as a kind of gloomy guy. But I don’t think of myself as gloomy at all. I say ha ha to death all the time in my poems.”
And death was arguably Strand’s great theme—few poets have written more acutely or more movingly about the chasm at the end of life. Which is not to say that he was excessively dour or bleak; the sense of isolation in his work is often leavened by light and feeling. Strand saw poetry as a humanizing influence in an increasingly inhumane world. He told Inscape a few years ago: Read More »
November 28, 2014 | by Dan Piepenbring
- The mystery novelist P. D. James is dead at ninety-four. “‘When I first heard that Humpty Dumpty fell off the wall,’ she was fond of saying, ‘I immediately wondered: Did he fall — or was he pushed?’ ” (James was interviewed for The Paris Review’s Art of Fiction series in 1995.)
- Black Friday is hell. But now there is a new hell, for there is a New Black Friday. (It involves Walmart and money.)
- “In recent years, not just in novels but in movies, television, poetry, video games and the visual arts, drones have taken on a life of their own. As a character, they are menacing, melancholy or gallant; beastly, blind, snub-nosed, noisy and fast—Predators and Reapers in real life, ‘Helicarriers’ in Hollywood. They are the oversize hook at the end of a joystick, a militarized, antiseptic video game characterized by precision; or they are a weapon system proliferating at a breathtaking rate, and leaving a trail of destruction behind. They show off the military talent of their users, or they are an expression of unbridled hubris. They represent protection or extermination—and they carry out both things at once.”
- In 1948, an eleven-year-old girl named Sally Horner was abducted—and the details of the case bear more than a passing resemblance to Lolita.
- Something to ponder over leftovers: the literature of Thanksgiving. (From Mark Twain: “In the island of Fiji they do not use turkeys; they use plumbers. It does not become you and me to sneer at Fiji.”)
October 30, 2014 | by Dan Piepenbring
Galway Kinnell, who aspired to a poetics that “could be understood without a graduate degree,” died on Tuesday in Vermont, at eighty-seven. A winner of both the Pulitzer and the National Book Award, Kinnell wrote poems that “dwell on the ugly as fully, as far and as long as I could stomach it,” as he once told the Los Angeles Times. “I think if you are ever going to find any kind of truth to poetry it has to be based on all of experience rather than on a narrow segment of cheerful events.”
Tony Hoagland said that Kinnell’s primary subjects were “mortality, erotic love, and creatureness.” That might make him sound solemn, But Kinnell, who was born in Rhode Island, could also be exceptionally warm, especially when his subject was New England. An obituary by the Associated Press quotes Major Jackson, who included Kinnell among “the great quintessential poets of his generation”:
In my mind he comes behind that other great New England poet Robert Frost in his ability to write about, not only the landscape of New England, but also its people … Without any great effort it was almost as if the people and the land were one and he acknowledged what I like to call a romantic consciousness.
It would be hard to overstate the effect of Kinnell’s poems on the form at large. “I don’t think Galway Kinnell influenced me, but what’s more important, he inspired me,” Philip Levine said in his Art of Poetry interview:
When I read his great poem “The Avenue Bearing the Initial of Christ into the New World,” I said, My God, this is how good the poetry of my generation can be. I can remember exactly where I was when I first read it, on the second floor of the library in an armchair holding The Hudson Review and shivering with excitement.
The Review published Kinnell’s poems throughout his career; his work first appeared in our Spring 1965 issue. We’ve made available one of those earlier poems, “On the Frozen Field,” which begins:
We walk across the snow,
The stars can be faint,
The moon can be eating itself out,
There can be meteors flaring to death on earth,
The Northern Lights can bloom and seethe
And be tearing themselves apart all night,
We walk arm in arm, and we are happy.
You can also read “The Geese,” from our Summer 1985 issue, and “Lackawanna,” from Fall 1994. But best of all is “Another Night in the Ruins,” which Kinnell read at a Review salon in 2001; you can hear the recording here.
October 13, 2014 | by Dan Piepenbring
I’ve been enormously fortunate. People say, How do you feel about your reputation? My real belief is that I have exactly the reputation I deserve … on the whole I feel comfortable with myself. You know I’ve always always loved that line from Chaucer’s Criseyde, “I am meyne own woman wel at ease.” That’s the way I feel. Of course, there are always disasters looming, both cosmic and domestic. But even if it should all end tomorrow I would just hope I’ve burned enough bad drafts and old love letters!
—Carolyn Kizer, the Art of Poetry No. 81, Spring 2000
Carolyn Kizer died last Thursday at eighty-nine, the New York Times reports. Her poems are immaculately crafted and very smart, often with a steely feminism; she won the Pulitzer Prize in 1985 for her collection Yin. As the Times says, “She was writing as early as the 1950s about the conflict for women between the creative imperative and social expectations—but it was far different in character from that of her contemporary Adrienne Rich. Where the poems of Ms. Rich, who died in 2012, landed like bombs flung from the barricades, those of Ms. Kizer felt more like a stiletto slipped between the ribs.”
Ursula K. Le Guin called Kizer’s poetry “intensely, splendidly oral, wanting to be read aloud, best of all to be read or roared by the lion herself.” Kizer, born in Washington, was known for her long, careful periods of revision, as evidenced in the manuscript above. (She was an honest self-critic, too; note that “Re-write this LOUSY couplet” scrawled in the margin.) She took more than thirty years to edit the sequence “Pro Femina,” which contains one of her most famous lines: “We are the custodians of the world’s best-kept secret: Merely the private lives of one-half of humanity.”
In addition to her Writers at Work interview, The Paris Review published many of Kizer’s poems, including “Twelve O’Clock,” in our Winter 1990 issue; and “Gerda,” which opens with an old Swedish children’s prayer, from Spring 1987. To celebrate her life, we’ve made them both available online. Read More »
September 26, 2014 | by Sadie Stein
On this, the occasion of T. S. Eliot’s birth, it’s interesting to revisit (or, I should say, visit—if you didn’t happen to be around in 1965) his Times obituary. Especially this bit:
In his later years he had an office in London in the publishing house of Faber & Faber, of which he was a director. There he carried on his business, writing letters and articles, somewhat like the clerkish type he resembled.
In appearance he was then, as he was in early life, a most unlikely figure for a poet. He lacked flamboyance or oddity in dress or manner, and there was nothing of the romantic about him. He carried no auras, cast no arresting eye and wore his heart, as nearly as he could be observed, in its proper anatomical place.
His habits of work were equally “unpoetic,” for he eschewed bars and cafes for the pleasant and bourgeois comforts of an office with padded chairs and a well-lighted desk.
Talking of his work habits, he once said:
“A great deal of my new play, ‘The Elder Statesman,’ was produced in pencil and paper, very roughly. Then I typed it myself first before my wife got to work on it. In typing myself I make alterations, very considerable ones. But whether I write or type, composition of any length, a play for example, means for me regular hours, say 10 to 1. I found that three hours a day is about all I can do of actual composing. I could do the polish perhaps later.”
Eliot’s dress was a model of the London man of business. He wore a bowler and often carried a tightly rolled umbrella. His accent which started out as pure American Middle West did undergo changes, becoming over the years quite British U.
The U was complete and unfeigned. “I am,” he said stoutly, “an Anglo-Catholic in religion, a classicist in literature and a royalist in politics.”
Even so, his ascetic austerity drew the line at gin rummy, which he delighted to play of an evening. He also kept a signed photograph of Groucho Marx, cigar protuberant, in his study at home.
These touches lend credence to Eliot’s attempts in later years to soften some aspects of his credo. His religious beliefs, he asserted, remained unchanged and he was still in favor of monarchy in all countries having a monarch, but the term classicism was no longer so important to him.
September 24, 2014 | by Dan Piepenbring
The Paris Review was saddened to learn that Pati Hill, a frequent contributor and longtime friend of the magazine, died last Friday at ninety-three. A native of Kentucky, Hill worked during the forties and fifties as a model in France, where she was part of the same community of expats that included George Plimpton and the founders of the Review.
Over the years, beginning with our second issue, Hill published six stories and an essay with the Review; her last contribution, part of a series of sketches, came in Spring 1981. She wrote a pair of well-regarded books—a novel and a memoir—in the fifties, but today she’s probably best known for her art, which made early and innovative use of an IBM photocopier, as an obituary in the Times says.
To celebrate Hill, we’re posting her essay “Cats,” from our Summer 1955 issue, in its entirety, with a pair of illustrations by B. Whistler Dabney. It begins:
I like cats as far as creatures go. I like almost any animal that does not have horns or scales on it for that matter, but I especially like cats. Any sort and denomination: spotted or solid, fat or thin, with and without fleas. I like them and admire them and almost anything they do is a pleasure to me.
The way they can walk around the rim of a bathtub, for instance, without falling in and the way they can get comfortable in any old place. There is nothing better than a cat looking out from behind a pot of geraniums on a windowsill or walking slowly down a country road of a summer evening. There is something at once comforting and disquieting about a cat which makes him attractive.
They are wonderful when they stick their noses cautiously into a hole and then back out again, and when they flatten down their ears the tops of their heads look like giant bumblebees. Also they have marvelous feet. When a cat puts his paw on the head of a half eaten fish it is at once delicate and dainty and fierce and when he retracts his claws again he is most beautifully innocent like firearms in a shop window or a pin-cushion with no pins in it.