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Snodgrass, Sylvia Plath, and Anne Sexton. As the title suggests, the sequence is not a sustained autobiographical narrative, but a loosely chronological series of vignettes, moving from sketches of his conflicted relations with his parents to a grim, unsparing confrontation with his vulnerable and volatile psychiatric state. Lowell addresses these painful personal materials with a candid directness and an ironic lack of self-pity that make the poems all the more moving and persuasive. . ”22 He would later recall: “When I was in Iowa – ’50 or later in ’52 [–] I read 2/3 of Freud, like reading Tolstoy.
They met in the year when Lowell was writing “Colloquy in Black Rock” and “The Quaker Graveyard in Nantucket” and other poems that would appear in Lord Weary’s Castle, win a Pulitzer Prize, establish Lowell’s prophetic voice and style, and catapult him in his early twenties to the forefront of contemporary poets. When Berryman’s early poetry appeared in The Dispossesed in 1948, it won the Shelley Memorial Award from the Poetry Society of America but created no great stir; indeed, as Berryman himself knew, those poems showed a poet with potential but still in search of a voice and style and stance.
The poems probe wounds, old and recent, but with tender care. They are at once a gathering in, a rounding up, and a signing out: elegiac valedictions to and about his wives, children, parents, friends, summoned again, this time to say goodbye. ” For example, these lines (p. . 38 American Poetry after Modernism It’s not death I fear, but unspecified, unlimited pain. 797) from “Grass Fires”: I – really I can do little, as little now as then, about the infernal fires – I cannot blow out a match.