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Books : Literature & Fiction : Authors, A-Z : ( J ) : Jeffers, Robinson
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Robinson Jeffers died in 1962 at the age of seventy-five, ending one of the most controversial poetic careers of this century.
The son of a theology professor at Western Seminary in Pittsburgh, Jeffers was taught Greek, Latin, and Hebrew as a boy, and spent three years in Germany and Switzerland before entering the University of Western Pennsylvania (now Pittsburgh) at fifteen. His education continued on the West Coast after his parents moved there, and he received a B.A. from Occidental College at eighteen. His interest in forestry, medicine, and general science led him to pursue his studies at the University of Southern California, and the University of Zurich.
The poems in this volume have been selected from his major works, among them Be Angry at the Sun; Hungerfield; The Double Axe; Roan Stallion; Tamar and Other Poems; as well as The Beginning and the End, which contains his last poems.
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THE SELECTED POETRY OF ROBINSON JEFFERS The Selected Poetry of ROBINSON JEFFERS TO UNA JEFFERS CONTENTS FOREWORD page xiii FROM TAMAR AND OTHER POEMS TAMAR 3 DIVINELY SUPERFLUOUS BEAUTY 65 THE MAIDS THOUGHT 66 THE SONGS OF THE DEAD MEN TO THE THREE DANCERS 67 TO HIS FATHER Jl THE TRUCE AND THE PEACE 72 NATURAL MUSIC 77 POINT JOE 78 THE CYCLE 80 SALMON-FISHING 8 1 TO THE HOUSE 82 TO THE ROCK THAT WILL BE A CORNERSTONE OF THE HOUSE 83 TO THE STONE-CUTTERS 84 SUICIDES STONE 85 WISE MEN IN THEIR BAD HOURS 86 CONTINENTS END 87 FROM ROAN STALLION THE TOWER BEYOND TRAGEDY 89 ROAN STALLION 141 NIGHT 158 BIRDS l6l FOG 162 BOATS IN A FOG 163 GRANITE AND CYPRESS 164 PHENOMENA 165 PEOPLE AND A HERON 1 66 AUTUMN EVENING 167 Vll CONTENTS SHINE, PERISHING REPUBLIC P a g e THE TREASURE 169 JOY 170 WOODROW WILSON 1 7 1 SCIENCE 173 APOLOGY FOR BAD DREAMS 174 ANTE MORTEM 178 POST MORTEM 179 SUMMER HOLIDAY l8l CHAPTER XII FROM THE WOMEN AT POINT SUR 1 8 2 FROM CAWDOR TWO PASSAGES FROM CAWDOR THE OLD MANS DREAM AFTER HE DIED 183 THE CAGED EAGLETS DEATH DREAM 185 FAWNS FOSTER-MOTHER 1 88 A REDEEMER 189 AN ARTIST 192 SOLILOQUY 195 THE BIRD WITH THE DARK PLUMES 196 TOR HOUSE 197 HURT HAWKS 198 MEDITATION ON SAVIORS 2OO FROM DEAR JUDAS THE LOVING SHEPHERDESS 205 THE BROKEN BALANCE 258 BIRTH-DUES 262 EVENING EBB 263 HANDS 264 HOODED NIGHT 265 FROM THURSOS LANDING THURSOS LANDING 266 THE PLACE FOR NO STORY 358 viii CONTENTS FIRE ON THE HILLS page 359 NOVEMBER SURF 360 WINGED ROCK 361 THE BED BY THE WINDOW 362 NEW MEXICAN MOUNTAIN 363 SECOND-BEST 364 MARGRAVE 365 FROM GIVE YOUR HEART TO THE HA WKS GIVE YOUR HEART TO THE HAWKS 376 A LITTLE SCRAPING 457 INTELLECTUALS 458 TRIAD 459 STILL THE MIND SMILES 460 CRUMBS OR THE LOAF 461 DESCENT TO THE DEAD SHANE ONEILLS CAIRN 462 OSSIANS GRAVE 463 THE LOW SKY 466 THE BROADSTONE 467 THE GIANTS RING 468 IN THE HILL AT NEW GRANGE 469 ANTRIM 473 NO RESURRECTION 474 DELUSION OF SAINTS 475 IONA THE GRAVES OF THE KINGS 476 SHOOTING SEASON 477 GHOSTS IN ENGLAND 478 INSCRIPTION FOR A GRAVESTONE 480 SHAKESPEARES GRAVE 481 THE DEAD TO CLEMENCEAU NOVEMBER, 1929 482 SUBJECTED EARTH 483 NOTES TO DESCENT TO THE DEAD 484 AT THE FALL OF AN AGE 485 ix CONTENTS FROM SOLSTICE AT THE BIRTH OF AN AGE P g e 505 THE CRUEL FALCON 562 ROCK AND HAWK 563 LIFE FROM THE LIFELESS 564 REARMAMENT 565 WHAT ARE CITIES FOR 566 AVE CAESAR 567 SHINE, REPUBLIC 568 THE TRAP 569 PRAISE LIFE 570 DISTANT RAINFALL 571 GRAY WEATHER 572 LOVE THE WILD SWAN 573 SIGNPOST 574 WHERE I 575 RETURN 576 FLIGHT OF SWANS 577 FROM SUCH COUNSELS YOU GA VE TO ME STEELHEAD 578 THE COAST-ROAD 581 GOING TO HORSE FLATS 582 THE WIND-STRUCK MUSIC 585 GIVE YOUR WISH LIGHT 587 THE PURSE-SEINE 588 THE GREAT SUNSET 59 BLIND HORSES 592 THEBAID 593 THE ANSWER 594 NEW YEARS EVE 595 HOPE IS NOT FOR THE WISE 596 X CONTENTS NOVA page 597 ALL THE LITTLE HOOFPRINTS 599 SELF-CRITICISM IN FEBRUARY 6oi HELLENISTICS 6O2 OH, LOVELY ROCK 605 THE BEAKS OF EAGLES 607 NIGHT WITHOUT SLEEP 608 NEW POEMS AND FRAGMENTS DECAYING LAMBSKINS 6lO SHIVA 6ll NOW RETURNED HOME 6 1 2 THEORY OF TRUTH 615 INDEX OF POEMS 617 INDEX OF FIRST LINES 6lQ FOREWORD f HIS BOOK presents in one volume about half of my published work. In making the selection it was easy to eliminate the poems published in 1912 and 1916, which were only prepara tory exercises, to say the best for them and it was easy to omit a number of shorter poems from later volumes. After that the selection became more or less arbitrary. Several of the longer poems had to be omitted, for I have no desire to publish a collected works at this rime, but there appears little reason to choose among them. The Women at Point Sur seems to me in spite of grave faultsthe most inclusive, and poetically the most in tense, of any of my poems it is omitted from this selection because it is the least understood and least liked, and because it is the longest...
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Robinson Jeffers (1887-1962) is not only the greatest poet that the American West has produced but also a major poet of the twentieth century in the tradition of American prophetic poetry. This anthology serves as an introduction to Jeffers’s work for the general reader and for students in courses on American poetry.
Jeffers composed each volume of his verse around one or two long narrative or dramatic poems. The Wild God of the World follows this practice: in it, Cawdor, one of Jeffers’s most powerful narratives, is surrounded by a representative selection of shorter poems.
At the end of the book, the editor has provided revealing statements about Jeffers’s poetry and poetics, and about his philosophy of nature and human nature.
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Robinson Jeffers (1887-1962) is not only the greatest poet that California (and indeed the American West) has produced but a major poet of the twentieth century who occupies a prominent place in the tradition of American prophetic poetry.
Jeffers consciously set himself apart from the poetry of his generation—by physical isolation at his home in Carmel, by his unusual poetic form, and by his stance as an “anti-modernist.” Yet his work represents a profound, and profoundly original, artistic response to problems that shaped modernist poetry and that still perplex poets today. Now, for the first time, all of Jeffers’s completed poems, both published and unpublished, are presented in a single, comprehensive, and textually authoritative edition of five volumes.
The present volume is in four parts. An Introduction deals with the scope and principles of selection for the edition, including the decision to present the poems in chronological order, and gives a brief review of the textual evidence and commentary that form the bulk of this volume. The essay “Chronology” offers an overview of Jeffers’s career, the evidence for dating the poems, and the arguments drawn from that evidence.
The two parts that follow describe the rationale and evidence for establishing the texts of the poems for this edition, and present, in the form of extensive commentary and tabulations for each poem, the material (notes, preliminary workings, revisions, discarded passages, and variations in published versions) that both complicate and enrich the study of Jeffers’s poetry and prose. These commentaries also incorporate a number of additional selections from Jeffers’s previously unpublished writings.
There are three appendixes: tables of contents for original editions as well as some planned editions that were never published; poems (not included in this edition) that have appeared in posthumous compilations; and errata for the first four volumes. The book concludes with two indexes, of titles and of first lines.
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The precipitous cliffs, rolling headlands, and rocky inlets of the Big Sur coast of California were alive for Robinson Jeffers, and throughout his long career as a poet, he extolled their wild beauty. His vivid descriptions inspired the best work of other artists who lived nearby, including such noted photographers as Edward Weston, Ansel Adams, and their younger contemporary Morley Baer.
Before he died in 1995, Baer was planning a volume that would bring together a group of his landscape photographs of the Big Sur area with a selection of poems that expressed Jeffers’s mystical experience of stone. Jeffers believed that stone is alive, perhaps even conscious in some way. Baer wanted to create a visual and literary meditation on the life-experience of stone. James Karman was invited by Baer to serve as his collaborator, and has brought the project to completion—more than 50 of Baer’s photographs paired with poems by Jeffers (some complete, others excerpted).
Stones of the Sur is in five parts, each of which takes its title from a poem. Part I, “Tor House,” contains photographs and poems about Jeffers’s home, ever the locus of his inspiration. Part II, “Continent’s End,” begins with a panoramic view of the coastline and is followed by visual and textual images that become progressively narrower in scope as Baer and Jeffers focus on the mountains, cliffs, beaches, boulders, rocks, and pebbles of the Big Sur.
The inward progression continues in Part III, “Oh Lovely Rock,” where Baer trains his lens on close surfaces—revealing his sensibilities at their most abstract. From the middle of Part III on, the spiral is reversed and the view begins to open. Part IV, “Credo,” expands outwardly from the pebbles and rocks of the Big Sur back to the beaches, cliffs, and mountains. Part V, “The Old Stone-Mason,” concludes the book with a return to Tor House.
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Their combined genius made the play one of the outstanding successes of the 1940s. In Medea, Jeffers relentlessly drove toward what Ralph Waldo Emerson had called 'the proper tragic element' - terror.
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