{"id":28805,"date":"2012-03-29T18:32:52","date_gmt":"2012-03-29T22:32:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=28805"},"modified":"2012-03-30T14:04:23","modified_gmt":"2012-03-30T18:04:23","slug":"adrienne-rich","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/03\/29\/adrienne-rich\/","title":{"rendered":"Adrienne Rich"},"content":{"rendered":"
\"\"<\/a>

Photo by Robert Giard.<\/p><\/div>\n

Adrienne Rich\u2019s first poem in The Paris Review <\/em>was \u201cThe Snow Queen,\u201d which appeared in the magazine\u2019s second issue<\/a> (Summer 1953). Her last, \u201cItinerary<\/a>,\u201d was published this spring in our two-hundredth<\/a>. Rich was twenty-three when she wrote \u201cThe Snow Queen,\u201d but she had already been discovered. Her first book, A Change of World<\/em>, was chosen by W. H. Auden for the Yale Younger Poets prize in 1951. Rich\u2019s early work is formally impeccable, its ideas and idioms rooted in the poetry of Yeats and Stevens (\u201cThe Snow Queen\u201d can be read as a variation on Stevens\u2019s \u201cThe Snow Man\u201d). But Rich quickly moved beyond her early style. She found its virtuosity too prim, too imitative\u2014\u201cexercises in style,\u201d as she once put it. In her early thirties, she was already looking back at her accomplishments and measuring their limitations. \u201cNecessities of Life,\u201d the title poem of her 1966 collection, was first published in The Paris Review <\/em>as \u201cThirty-Three\u201d (Winter-Spring, 1964), which was Rich\u2019s age when she wrote it. It is a poem of retrospection and prophecy. It begins,<\/p>\n

\n

Piece by piece I seem
to re-enter the world: I first began<\/p>\n

a small, fixed dot, still see
that old myself, a dark blue thumbtack<\/p>\n

pushed into the scene,
a hard little head protruding<\/p>\n

from the pointillist\u2019s buzz and bloom.
after a time the dot<\/p>\n

begins to ooze. Certain heats
melt it.<\/p>\n<\/blockquote>\n

\u201cThe pointillist\u2019s buzz and bloom\u201d is still Stevensian, but the oozing and heat\u2014here signaling the onset of adolescence\u2014are heralds of Rich’s mature poetry. Her great work of the sixties and seventies, the period in which she came out as a lesbian and a radical feminist, are poems of Eros. Not merely eroticism, though there is plenty of that\u2014and it is important\u2014but a poetry of passionate relation and reinvention. It is also a poetry that values plainspokenness over rhetorical expertise. \u201cNow and again to name \/ over the bare necessities,\u201d as she instructs herself in \u201cNecessities of Life.\u201d <\/p>\n

Like many readers of my age, I first found Rich\u2019s poetry on the bookshelves of my parents and their friends (one of our friends was her literary agent, another radical feminist, Frances Goldin). I read the poems, I now think, because they hinted at what my parents\u2019 life was like before I was born\u2014what it was really like, rather than what they were then willing to tell me. Two of Rich\u2019s great subjects were modern marriage\u2014chiefly its failures, frustrations, and betrayals\u2014and childrearing. I do not think any poet then or since, including Plath, has written about these things with such acuity and ruthlessness and sometimes rage. The tableaux of \u201cNight-Pieces: For a Child,\u201d in which mother and newborn are implicated in each other\u2019s nightmares, tear away all pieties:<\/p>\n

\n

Tonight I jerk astart in a dark
Hourless as Hiroshima,
Almost hearing you breathe
In a cot three doors away.<\/p>\n

… you and I\u2014
swaddled in a dumb dark
old as sickheartedness,
modern as pure annihilation\u2014<\/p>\n

we drift in ignorance.<\/p>\n<\/blockquote>\n

New York is another of Rich\u2019s great subjects. She lived in the city, on and off, from 1966 to 1979. The city of those days\u2014the good old bad days, with their open political and racial conflicts, antiwar protests, and labor strikes\u2014seems far away now, though when I first read the poems it felt very close. Rich later wrote powerful poems about environmental degradation, evoking what she called \u201cthe old \/ indigenous map <\/strong>landscape \/ before conquerors <\/strong>horizon ownless.\u201d But she had already learned to study the nostalgias while living in the city (as who does not). \u201cLike This Together,\u201d one of her portraits of a marriage in crisis, gives this picture of New York, as true today as when she wrote it in 1963:<\/p>\n

\n

They\u2019re tearing down, tearing up
this city, block by block.
rooms cut in half
hang like flayed carcasses,
their old roses in rags,
famous streets have forgotten
where they were going. Only
a fact could be so dreamlike.<\/p>\n<\/blockquote>\n

Rich\u2019s later poetry is especially full of allusions to her earlier work, which it revises and sometimes corrects. Life does not turn on points or sudden conversions, she once wrote, but \u201cmoves \/ in loops <\/strong>by switchbacks loosely strung \/ around the swelling of one hillside toward another.\u201d \u201cItinerary,\u201d her poem in the current issue, shares its title with a poem from her first collection. The earlier work opens with this stanza: \u201cThe guidebooks play deception; oceans are \/ A property of mind. All maps are fiction, \/ All travelers come to separate frontiers.\u201d Poems of exploration, of women setting off into the unknown, would become one of Rich\u2019s most fruitful themes. It is reprised at the outset of her second \u201cItinerary\u201d: \u201cBurnt by lightening <\/strong>nevertheless \/ she\u2019ll walk this terra infinita \/\/ lashes singed on her third eye \/ searching definite shadows <\/strong>for an indefinite future.\u201d The poem doesn\u2019t suggest a goal for this adventure, but rather a way of being, an attitude of openness and intelligent vulnerability. It allowed Rich to write the poems of her moment, to see and to celebrate what many would prefer not to notice:<\/p>\n

\n

In a physical world the great poverty would be
To live insensate <\/strong>shuttered against the fresh<\/p>\n

slash of urine on a wall
low-tidal rumor of a river\u2019s yellowed mouth
a tumor-ridden face asleep on a subway train<\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Adrienne Rich\u2019s first poem in The Paris Review was \u201cThe Snow Queen,\u201d which appeared in the magazine\u2019s second issue (Summer 1953). Her last, \u201cItinerary,\u201d was published this spring in our two-hundredth. Rich was twenty-three when she wrote \u201cThe Snow Queen,\u201d but she had already been discovered. Her first book, A Change of World, was chosen […]<\/p>\n","protected":false},"author":33,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[27],"tags":[6566,6995,1628,6435,6986,6999,6997,165,426,6994,6998,2160,6996],"class_list":["post-28805","post","type-post","status-publish","format-standard","hentry","category-in-memoriam","tag-6566","tag-a-change-of-world","tag-adrienne-rich","tag-issue-200","tag-itinerary","tag-like-this-together","tag-night-pieces-for-a-child","tag-poetry","tag-the-paris-review","tag-the-snow-queen","tag-thirty-three","tag-w-h-auden","tag-yale-younger-poets-prize"],"acf":[],"yoast_head":"\nAdrienne Rich by Robyn Creswell<\/title>\n<meta name=\"description\" content=\"March 29, 2012 \u2013 Adrienne Rich\u2019s first poem in The Paris Review was \u201cThe Snow Queen,\u201d which appeared in the magazine\u2019s second issue (Summer 1953). 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