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Not for Specialists
Until the late 1970s, W. D. Snodgrass was known primarily as a confessional poet and a key player in the emergence of that mode of poetry in the late 1950s and early 1960s. Snodgrass makes poetry out of the daily neuroses and everyday failures of a man--a husband, father, and teacher. This domestic suffering occurs against a backdrop of more universal suffering which Snodgrass believes is inherent in the human experience. Not for Specialists includes 35 new poems complemented by the superb work he wrote in the Pulitzer Prize winning collection, Heart's Needle, along with poetry from seven other distinguished collections. from "Nocturnes" Seen from higher up, it makes its first move in the lo...
W.D. Snodgrass in Conversation with Philip Hoy
W.D. Snodgrass' first book won the Pulitzer Prize for Poetry in 1960, and was responsible for the emergence of confessional poetry, a genre that was to attract some of the finest poetic talents of the day, including his former teacher, Robert Lowell.
Tuned and Under Tension
Most of the previous critical work on W. D. Snodgrass concentrates on his early period. These new essays, by both established and emerging scholars, constitute a close reading of the later poetry, principally Midnight Carnival, The Death of Cock Robin, Each in His Season, and The Fuehrer Bunker. The collection also contains the first interview with Snodgrass conducted after the publication of the new Bunker in 1995.
De/Compositions
Illustrating how the poems we love could have been written differently, or even badly, the author rewrites poems by authors ranging from Elizabeth Bishop to Shakespeare, and displays the reworked version side-by-side with the original, so one can gain a better understanding of the original work's merits.
The Poetry of W.D. Snodgrass
By the time the Pulitzer Prize-winning Heart's Needle appeared in 1959, W. D. Snodgrass had been accepted as a peer by some of the most important postwar American poets, including Robert Lowell, Randall Jarrell, Theodore Roethke, and John Berryman. The intensely personal and emotional nature of the poetry shocked critics. In writing about the intimacies and betrayals of family life, Snodgrass joined Lowell in creating what became commonly known as "confessional poetry". The personal lyric, reintroduced in Heart's Needle, arguably became the dominant poetry of the 1960s and 1970s. Snodgrass was a decade ahead of his time. The Poetry of W. D. Snodgrass: Everything Human gathers a rich selection of book reviews and critical essays and provides the first attempt to appraise the entire scope of this poet's work. Contributors include John Hollander, Hayden Carruth, Denis Donoghue, J. D. McClatchy, Harold Bloom, Hugh Kenner, and Dana Gioia. Stephen Haven's chronology of the poet's life and work supplements the reviews and essays in tracing Snodgrass's evolution as an artist and shedding new light on his work.
A Study Guide for W. D. Snodgrass's "Heart's Needle"
A Study Guide for W. D. Snodgrass's "Heart's Needle," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
After Experience
None
Each in His Season
In Each In His Season Pulitzer Prize winner W. D. Snodgrass once again demonstrates the rich versatility that has made him a major presence in American poetry for more than thirty years.
The House with Round Windows
A personal, poetic counterpoint to the work of W.D. Snodgrass. The poems of W. D. Snodgrass, based on events from his troubled family life--particularly the death of a beloved sister--directly influenced Robert Lowell, Anne Sexton, Sylvia Plath, and changed mid-twentieth century American poetry. Now his younger brother, Richard Snodgrass, who experienced those family events as well, masterfully weaves a counterpoint of personal stories, family history, and his own photographs into his work that reminds the reader that there are many sides to any story, that every unhappy family is unhappy in its way, and--perhaps most terrible of all--that everyone has their reasons.
Lark in the Morning
Robert Kehew augments his own verse translations with those of Pound & Snodgrass, to provide a collection that captures both the poetic pyrotechnics of the original verse & the astonishing variety of troubadour voices.
