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The Selected Poetry of Robinson Jeffers (The Collected Poetry of Robinson Jeffers), by Robinson Jeffers
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In 1938 Random House published The Selected Poetry of Robinson Jeffers, a volume that would remain in print for more than fifty years. For decades it drew enough poets, students, and general readers to keep Jeffers—in spite of the almost total academic neglect that followed his fame in the 1920s and 1930s—a force in American poetry.
Now scholars are at last beginning to recognize that he created a significant alternative to the High Modernism of Pound, Eliot, and Stevens. Similarly, contemporary poets who have returned to the narrative poem acknowledge Jeffers to be a major poet, while those exploring California and the American West as literary regions have found in him a foundational figure. Moreover, Jeffers stands as a crucial precursor to contemporary attempts to rethink our practical, ethical, and spiritual obligations to the natural world and the environment.
These developments underscore the need for a new selected edition that would, like the 1938 volume, include the long narratives that were to Jeffers his major work, along with the more easily anthologized shorter poems. This new selected edition differs from its predecessor in several ways. When Jeffers shaped the 1938 Selected Poetry, he drew from his most productive period (1917-37), but his career was not over yet. In the quarter century that followed, four more volumes of his poetry were published. This new selected edition draws from these later volumes, and it includes a sampling of the poems Jeffers left unpublished, along with several prose pieces in which he reflects on his poetry and poetics.
This edition also adopts the texts of the recently completed The Collected Poetry of Robinson Jeffers (five volumes, Stanford, 1988-2000). When the poems were originally published, copy editors and typesetters adjusted Jeffers's punctuation, often obscuring the rhythm and pacing of what he actually wrote, and at points even obscuring meaning and nuance. This new selected edition, then, is a much broader, more accurate representation of Jeffers's career than the previous Selected Poetry.
Reviews of volumes in
The Collected Poetry of Robinson Jeffers
"A masterful job of contemporary scholarly editing, this book begins an edition intended to clarify a 'Jeffers canon,' establishing for times to come the verse legacy of a poet who looked on all things with the eyes of eternity."—San Francisco Chronicle
"This edition will be standard . . . a tribute and justice to a poet whose independent strength has survived to challenge personal and public canons."—Virginia Quarterly Review
"Jeffers is the last of the major poets of his generation—Frost, Stevens, Williams, Pound, Moore, Eliot—to get his collected poems. Now that the job is at hand, it is done very well. . . . Tim Hunt has been painstaking in his editorial preparation and judicious in his presentation. . . . A great poet is ready for his due."—Philadelphia Inquirer
"Few American poets are treated as well by publishers as Jeffers is by Stanford University Press. . . . These poems represent a distinctive voice in the American canon, and it is good to have them so wonderfully set forth."—Christian Century
- Sales Rank: #1887609 in Books
- Published on: 2002-04-01
- Original language: English
- Dimensions: 9.25" h x 1.90" w x 6.88" l, 3.00 pounds
- Binding: Hardcover
- 776 pages
From Publishers Weekly
In the 1920s, on the strength of Roan Stallion, Tamar and Other Poems, Jeffers's critical reputation rivaled those of Frost and Eliotwhile the relatively frank sexual material to be found in his long, rough-hewn, often Callifornia-based narratives didn't hurt his popular reputation, as Washington State University professor Hunt notes in his introduction. After hitting the cover of Time in 1935, Jeffers (1887-1962) made a selection from his work three years later for Random House, one that has been listed as "out of stock indefinitely" for the last few years. A much more modest Random selected edition published a few years after Jeffers's death remains in print in paper, but this huge selection, culled from the monumental five-volume collected edition Hunt has edited for Stanford, is much more comprehensive, and can claim improved textual accuracy. Hunt's edition strips the punctuation added by contemporary printers (which "often obscures the rhythm and pacing of what Jeffers actually wrote, and at points even obscures meaning and nuance") and includes a carefully weighed choice of long and short works, as well as unpublished work. Jeffers's serious and sometimes morally indignant parables have most recently been taken up by Dana Gioia and others as a bulwark against Pound-and-Eliot-line modernism. This new selection will get readers closer than ever to the poems as Jeffers himself saw them, reacquainting them with "the night-wind veering, the smell of the spilt wine," and allowing readers to place him on their own. (Apr. 26) Forecast: While this selection is clearly intended to replace the Random edition, some readers may still prefer the poet's own selection (which could be provoked back into print), though this set will now have the edge on syllabi and in libraries. Further Jeffers projects from Stanford include Volume Five of The Collected Poetry, which will complete the project, slated for August, and Stones of the Sur, a book of lush Carmel coast photos by Morley Baer matched with appropriate Jeffers poems, which arrives from the press in June ($60 160p ISBN 0-8047-3942-0).
Copyright 2001 Reed Business Information, Inc.
From Booklist
The somber and violent long-lined narratives of Robinson Jeffers remained so popular for so long that his Selected Poetry (1938) was in print for more than 50 years. It lacked any of the quarter-century's worth of poems Jeffers wrote after its publication, and even before it went out of print, Jeffers' reputation was reviving, thanks to younger poets who acknowledged his influence, such as Mark Jarman, and older poets of great prominence, such as Czeslaw Milosz, who testified to his power. Hence this volume that selects from all his work is most welcome. Besides poems from Jeffers' four post-1938 collections, five prose pieces Jeffers wrote about his poetry and 13 unpublished poems add nearly 200 pages to the size of the 1938 volume. The only significant works Hunt doesn't cull from are The Women at Point Sur (1927), the longest and, Hunt says, "most ambitious, complex, and difficult" of Jeffers' narratives, and the Euripidean adaptation, Medea (1946). A volume for the core of American literature collections. Ray Olson
Copyright © American Library Association. All rights reserved
Review
"Ultimately Jeffers poems are regenerative, inspired, dynamic, and transcendent, creating an evocative and richly rewarding, even visionary, immersion in the natural world that for all its verbosity makes the world tangible and restorative. As editor Tim Hunt observes, Jeffers's work demands more than just simple contemplation of nature, but rather 'identifying with it and recognizing one's final and inevitable participation in it.'"—Jeffery Beam, Oyster Boy Review
"[I]t is hard to see how anyone can read Jeffers's best poetry and not perceive greatness. His narrative verse rivals Wordsworth's or Byron's. It is electrifying; the skin prickles. . . . We will lose something of value if we let Jeffers slip away. He expresses California's peculiar ambience with unsurpassed vividness."—Los Angeles Times Book Review
"Tim Hunt, one of the nation's leading Jeffers scholars, has done a masterful job of sorting and choosing from a huge amount of material."—San Francisco Chronicle
"Most welcome . . . a volume for the core of American literature collections."—Booklist
"The little prose Jeffers wrote is of the highest quality and the best of it is fortunately included in the back of The Selected Poetry."—New York Review
"This is the second such collection. The first, from Random House in 1938, remained in print for more than 50 years. Hunt, editor of the five volumes of The Collected Poetry of Robinson Jeffers, now provides an excellent replacement."—Virginia Quarterly Review
"One of the major virtues of this selection is its appeal to ecologically-oriented readers. . . . From any critical angle or interest, this Selected Poetry is the best entry into Jeffers's major work."—ISLE
"No other American poet has so emphatically preached the saving graces of nature, from galaxies to granite. Jeffers is more than the consummate poet of California and the Pacific Ocean, as many East Coast literati have called him with condescension. He is a poet of transhuman beauty, of disturbing prophecy. Freed from the shackle of his narrative poems, he stands as the preeminent American poet of nature, ecology, and science . . . he is one of our most important writers."—Science Magazine
Most helpful customer reviews
47 of 48 people found the following review helpful.
A Carmel Poet
By Flounder
Robinson Jeffers is most often considered a minor figure in the twentieth century American literature canon. Countless instructors haven't even heard of him, but that is a shame. Some professors even skip the Jeffers section in American literature anthologies. With the publication of this long-awaited anthology (in paperback), there is plenty of evidence here to suggest that Jeffers is a major figure of influence.
Jeffers had a transcendental vision. He built a poet's niche in Carmel, where he commented on nature's cosmic cycles, its beauty and violence, which he saw as expressions of God's character. Jeffers was a poet of the Carmel landscape--weather worn granite, tumultous surf, birds of prey, twisted coastal cypress--he also approached descriptions of humanity's arrogance and weakness in light of its fascination with war, violence, and self-inscribed bloodshed. Jeffers espoused a poetic doctrine of Inhumanism, which was perhaps a reflection of his own personal misanthropy: humans are atoms to be split.
Some of my favorite poems are here: "Shine, Perishing Republic," "Boats in a Fog," "Carmel Point," "Divine Superfluous Beauty," "Tower Beyond Tragedy," "Bed by the Window," "Una," "The Deer Lay Down Their Bones," and even some of his last writing. I remember a certain Shakespeare class in which I read "Shine, Perishing Republic" on the day after the LA riots.
Robert Hass (UC Berkeley), C. Milosz (Emeritus, UC Berkeley), and William Everson have been poet champions of Jeffers' work. But one scholar, in particular, has dedicated his academic life to understanding that creative pulse, which inspired Jeffers to his pen. That notable scholar is Robert J. Brophy.
I highly recommend this anthology. I also recommend the scholarship of Robert Brophy. I can say with pleasure and esteem that I have benefited from his scholarship and literature courses at Cal State U., Long Beach. Bob Brophy introduced me to Jeffers (via a Jeffers course and a Tor House tour, 10/91); I have introduced Jeffers and his work to my own students, and I will forever be touched by his gentle, guiding hand.
10 of 10 people found the following review helpful.
A rugged poetry, reflecting the terrain
By Glynn Young
I have on my bookshelf “Can Poetry Save the Earth: A Field Guide to Nature Poems” (2010) by John Felsteiner. I found it in the gift shop at the Missouri Botanical Garden, in the “ecology and activism” section. It’s the kind of book I can’t read straight through. Too much of a fixation on a theme (especially a political theme) is a bit too much to take at once; it’s better consumed in small bites.
One of those bites was about a poet named Robinson Jeffers (1887-1962). In fact, references to Jeffers are sprinkled throughout the book, almost as much as those to Emily Dickinson and Robert Frost. (Surprisingly, Wendell Berry is mentioned only twice in almost 360 pages of text.) The chapter on Jeffers was intriguing enough to lead me to his “Selected Poetry,” first published in 1938 and republished in 2013.
This is a collection that’s not for the fainthearted. The first poem is “Tamar,” a narrative poem that occupies about 60 pages of the 600-page work. This is the poem, in fact, that established Jeffers as a major poet when it was first published in 1924. If you’re familiar with the novels of William Faulkner, especially “The Sound and the Fury,” then you will be familiar with some of the themes and ideas of “Tamar,” themes like violence, incest, and illicit love. To be fair to Jeffers, “Tamar” came before “The Sound and the Fury;” if there was influence involved, Then Faulkner was the one influenced.
“Selected Poems” contains several long poems, although none as long as “Tamar.” Long narrative poems require close reading; otherwise, you can lose the thread of the story. Most of the poems in the collection, however, are about nature, geography, topography, and the natural world. Here’s one example:
People And A Heron
A desert of weed and water-darkened stone under my western windows
The ebb lasted all afternoon,
And many pieces of humanity, men, women, and children, gathering shellfish,
Swarmed with voices of gulls the sea-breach.
At twilight they went off together, the verge was left vacant, an
evening heron
Bent broad wings over the black ebb,
And left me wondering why a lone bird was dearer to me that many people.
Well: rare is dear: but also I suppose
Well reconciled with the world but not with our own natures
we grudge to see them
Reflected on the world for a mirror.
As a child, Jeffers was trained in the Bible and theology; his father was a Presbyterian minister. Before he became a full-time poet, he tried his hand at a number of things. A volume of verse was published in 1916, but it was “Tamar” that established his reputation. He and his wife Una lived at Tor House in Carmel, California, and much of his poetry reflected the region.
He went into something of a poetic eclipse after World War II; his poetry was considered by some to be unpatriotic (the late 1940s and early 1950s were not a good time to be considered unpatriotic) and his philosophy seemed to advance the idea that the extinction of the human race might be a good thing. It was some time before he was discovered (or rediscovered) by the environmental movement, and today he is something of an environmental patron saint, just not as well known as Rachel Carson and John Muir. And thus his inclusion in “Can Poetry Save the Earth.”
Jeffers’ poetry is a rugged poetry, reflective of the terrain that figures so largely in his work. It might even be best read in a nature preserve, a national park, or someplace away from the noise of civilization, or perhaps overlooking the Pacific Ocean near Carmel.
15 of 17 people found the following review helpful.
timely
By dwain confer
Jeffers would not be surprised by the timeliness of his poetry as issues of globalization, war, terror, environmental carelessness, and hubris once again flood our daily lives. His poetry resonates with a distaste for the very "inhumanities"--though he would consider them wholly human--that have brought us to this state of the world. The endless cycle which he mentions so many time is repeating itself once again, and his wisdoms and voice are gathered into a wonderful collection of his finest poetry.
One reading Jeffers in search of hope for humanity will be sorely disappointed, as his inhumanism is present on every page. It is not hopeless, however; the beauty of nature and the wild god of the world persist despite man's best efforts to tame and abolish them. Poems like "Vulture" are the only glimmer of hope that Jeffers has for mankind: recognize our place in the world and embrace it. That is the ultimate existence.
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