current Poet W.D. Snodgrass Remembered at University of Delaware Symposium

current Poet W.D. Snodgrass Remembered at University of Delaware Symposium




With its lofty cathedral ceilings, buttercup walls, and shiny hardwood floors throughout the lobby, the Roselle Center for the Arts at the University of Delaware welcomed several hundred invitees to the Symposium in Memory of W. D. Snodgrass on the afternoon of Wednesday April 27, 2011. W. D. Snodgrass was both a teacher and an acclaimed poet who won the Pulitzer Prize for poetry in 1960 for his collection of poems entitled Heart’s Needle. This event was sponsored by several departments at the University of Delaware where De (as was his name to family and friends) was recognized as a Distinguished Professor of creative writing and current literature up until his death on January 13, 2009.

Among meaningful speakers was X. J. Kennedy-acclaimed poet, author of children’s books, novelist, and college professor-with whose name every English major in America is familiar (he has been chief editor of Norton Anthologies in addition as author of various textbooks for the past several decades). As a friend, colleague, and great fan, Kennedy shared a fleeting, personal anecdote that drew a light chuckle from the audience inside the theater. He was first drawn to De after reading Heart’s Needle, at which point he wrote De a “fan letter” praising his verse. Upon receiving the letter and realizing they both currently lived in the same town, De drove to Kennedy’s “bachelor pad,” knocked on the door, and introduced himself to the man who would become a longtime friend and fan of his work. Kennedy, who was in the time of action of preparing dinner, invited him in, but De politely declined, as him being served dinner by Kennedy wasn’t exactly his idea of fan appreciation. Over the years, however, they shared many dinners together and their friendship continued to grow out of respect and admiration for one another.

While speaking of the famous, aberrant poetics of W. D. Snodgrass, Kennedy claims, “De was a great lover of bad poetry; he thought it could teach you something.” And thanks to De, it has in fact taught many of us something. One of the very best teaching tools obtainable today was written by De (published by Graywolf Press) and is titled De/Compositions, in which De took a selection of typical and current poems and “De-Composed” them-he rewrote them in a way that teaches students of poetry how not to write. This, however, is just one of many contributions. Kennedy refers to De as “one of the finest American poets of our time” and states that his influence on other poets was tremendous. Once a student of Robert Lowell, one could say that De’s early work strongly imitated that of his mentor, who was at the spotlight of the confessional movement; however, according to Kennedy, “Lowell ended up imitating him [Snodgrass].”

A former student of De’s and now an associate professor at UD, James Keegan recited “These Trees Stand,” a poem that clearly characterizes De, his sense of humor, and ultimately his early internal battle with self-acceptance, which he blazingly won. With the notorious, metaphorical line “Snodgrass is walking by the universe” completing each stanza, the poem asserts De’s entertainment with his own name and, ultimately, his life lot. New Yorker essayist Adam Gopnik, also a meaningful speaker at the event, later pointed out, it simply would not have had the same impact or conveyed the same meaning with any other name-such as Lowell, Bishop, or Browning. This same entertainment with his own shortcomings is wittily and thematically showcased throughout much of De’s work, and especially in one of his most well-liked poems, “April Inventory,” which was also recited and frequently referred to throughout the ceremony.

One thing all of De’s colleagues will agree upon is that he fully embraced who he was-he was his own poet. He colored outside the lines and wrote about what he thought was important in spite of of what may or may not have been deemed permissible at any given time. As Kennedy mentions, De was not afraid to take on controversial subjects, he was not afraid to express emotion, and his writing was not “mechanical.” He wrote in any case suited him whether it be a series of emotional monologues by some of the most evil, hated Nazis in Hitler’s regime (Fuehrer Bunker) or a collection of poems that completely expounds De’s love for nonsense (The Kinder Capers). During a time when his thoughts were extensively occupied by his relationship with his daughter, he brought a revolutionary style of poetry to the table-confessional. However, his name became closely associated with confessional poetry much to his chagrin, for it is a term he wholly detested, one with which he couldn’t disagree more. “Confessional” connotes religious matter and De was not religious in any sense of the information. More a propos to his manner of writing is what his wife Kathy knowingly called “uncommon tenderness.” Either way, his Pulitzer Prize winning collection was deeply sentimental, and its confessional style had a profound impact on current poets at the time.




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