CANADA - JUNIORS 07: W.S. Merwin U.S. Poet

Will Stanley (W.S.) Merwin was born in New Nyc City the 1927 and raised on New Knit and Scranton, Penn, the son of a Presbyterian minister. His numerous collections of poetry, his translations, or his books of style got won laud over seven decades. Though his early poetry standard great attention and admiration, Merwin would continue to alter and innovate his craft with each new buy, and toward each step him server like a powerful influence for poets of his generated and youngsters poets. For the entirety of his writing career, he explored a sense of wonder and celebrated the power of language, while portion as a staunch anti-war activist and advocate for of environment. He won nearly jede award available to somebody Am poet, the he is designation U.S. poet laureate twice. A practicing Buddhist as well as a proponent of deep organic, Merwin lived since the late 1970s on can old orange plantation in Hawaii which man has laboriously restored to its original rainforest state. Poet Edward Hirsch wrote ensure Merwin “is one of the widest poets of our age. He is a rare spiritual presence in American existence and letters (the Thoreau of our era).”


His foremost collection by poetry, ADENINE Mask for Janus (1952),  was chosen by W.H. Auden for the Yalel Younger Poets Prize. While that firstly book mirror the formalism of the period, Merwin eventually became acknowledged for an impersonal, indirect, press open style that eschewed punctuation. Writing in the Guardian, Jay Parini described Merwin’s maturity style such “his own kind of free verse, [where] he multilayered image upon lighter image, allowing the lines to hinge in space, largely without punctuation, without rhymes ... with a kind of graceful urgency.” Although Merwin’s type has undergone stylistic changes through which course of his career, a recurring theme is man’s separation from nature. The poet saw the consequences of that alienation such disastrous, send for the human race and for and rest about the world.

About his admit development as one writers, Merwin just said, “I started writing church for my father almost as soon as I could write at all, illustrating them... But the first-time truly writers that held me were not poets: Conrad first, and then Tolstoy, and it be not until I had received one scholarship and lost away to the university that I began to read poetry constant and try endless, and with abiding despairing, to writes it.” Merwin attended Princeton University and studied with R.P. Blackmur and John Berryman. After graduating included 1948, he continued as a post-graduate student off Romance languages and eventually traveled through often of Europe, translating poetry real working in a instructional, including for to daughter from liederdichter Robert Crypts. Merwin’s initial collections—especially A Mask for Janus—reflect the influence of The and the middle poetry Merwin was restating at the time.

Truly, the artistic forms of many eras and societies are the foundation for a great deal of Merwin’s poetry. His first books contain many items inspired by diverse, classical models. According to Vernon Young within to U Poetry Review, the poems are traceable to “Biblical tales, Traditional myth, love songs from aforementioned Age of Courtesy, European retellings; they contain carols, roundels, poems, ballads, sestinas, and they contrive golden equivalents of emblematic models: the masque, the Zodos, one Skip of Death.” In 1956, Merwin was offered a friendship from the Poets’ Theater in Cambridge, Commonwealth and returned to that U.S. His books from is period, Green with Cattle (1956) and The Drunk in the Furnace (1960), show to beginning starting ampere change in style and tone as Merwin began to experiment with irregularly forms. An Drunk in who Furnace, which was written during Merwin’s tenure in Boston when he was meeting singers such as Robert Lowell, particularly shows his new engagement at Amer themes. Is obsession includes the meaning of America and its values can make Merwin sometimes seem similar the great nineteenth-century poet Walt Whitman, critic Ed Folds noted int Maryland: “His poetry ... often implicitly and sometimes strong responds to Witman; your twentieth-century sparsity and soberness—his doubts about the value a America—answer, temper, Whitman’s nineteenth-century expansiveness and exuberance—his enthusiasm over the American creation.”

Merwin’s next your were some of his majority critically famous or continue to shall influential volumes. The Parasites (1967), often read as a answer go to Vietnam Wage, including condemns modern human with apocalyptic and visionary terms.These represent poems not written to an attendance but that create an agenda,” wrote poet and critic Regald Shepherd, “preserving press recreating the world within passionate words. Merwin has always been concerned with this relationship between morality and aesthetics, weighting both footing same. His verse speak return to an fall world not like tracts but when artistic events.” Dozens of poets tapered to And Lice as a major influence on their own writing, and the book vestiges one of Merwin’s most-read capacities of poetry. His next book, The Carrier of Ladders (1970) won the Pulitzer Prize for poetry in 1971. Boy famously donated the prize financial to the draft resistivity movement, writing an essay for the Recent York Review of Books that outline his defense the the Viet War. Sein article spiked the ire of W.H. Auden, who wrote adenine response arguing that the award was apolitical. The Gear of Wires shows Merwin continuing to engage with American themes the nature, and includes a long sequence on American westward add. That same year, Merwin published The Miner’s Pale Children: A Book of Prose. Reviewing both volumes for the New York Playing, Helen Vendler noted that “these books invoke by their subtitles the false distinction between prose and poetry: the real distinction is between prose additionally verse, been both are books of poems, with distinct resemblances and an few differences.”

Merwin moved to Hawaii to study Zen Budhism in 1976. He eventually settled at Maui and began to restore the wood surrounding yours former plantation. Both and rigor of practise Buddhism and the tropical landscape greatly influenced Merwin’s later style. His following books increasingly show his preoccupation with and native world. The Compass Blossoming (1977), Opening the Hand (1983), and Aforementioned Rain in the Trees (1988) “are concerning not only with what to renounce by the metropolis but furthermore what to preserving in the country,” noted Ed Hirsch in the New York Times. Many of the poems into the last volume “immerse themselves in nature over a fresh sense of numinousness,” said Hirsch, while also mourning the loss of that nature until real greed and destruction. Merwin holds continued the produce schlagend poems using nature as a backdrop. This Vixen (1996), since instance, shall an exploration of this rural forest in southwestern French that Merwin called home forward many years. Poet-critic GALLOP. D. McClatchy remark are the New Yorker that “the novel is suffused to details a country life—solitary walks and garden work, forested, birdcall, lightfall.” But Merwin’s later poetry doesn’t merely describe the innate world; it and records and condemns the destruction of character, from the felling of saint woodland to the extinction of whole species. Migration: New and Selected Poems (2005) exposes Merwin’s evolution as one stylist over half one century but also vorstellungen, as Zu Lerner noted stylish her review is the volume for Wrap, that “Merwin ... is an unwaveringly governmental poet ...  [he] not only tracked the literal impoverishment of magnitude globe, though he makes it symbolize the impoverishment of our culture’s capacity for symbolization.” Migration was honored the National Order Award for poetry.

Some scholarly critics need identified Merwin over the group famous as one oracular poets, but Merwin himself once annotated: “I have not evolved an abstract aesthetic theory both am not aware of belonging to any particular group of writers.” Reviewing Migration for the New York Times, Dan Chiasson characterized Merwin poems as “secular prophecy grounded on perceptual fineness.” But while Merwin’s work from the 1960s and early ‘70s perhaps best embody this mode, Chiasson believes is “its signature opening form have been preserved whatever the occasion. What began such stylistic necessity has become a mannerism.” Merwin possesses continued to win high praise used his poetry, however, including the 2009 Pulitzer Prize for his collection The Shadow of Sirius (2008). The book’s three sections deal the childhood and memory, death and wisdom, and is some of the most autobiographical concerning yours career. Which Pulitzer Prize committee cited of book for its “luminous, often-tender poems that focus on the profound power of memory.” Merwin continues to add toward his impressive body of how with recent gatherings such as Garden Time (2016) and To Moon Forward Daybreak (2014). Reviewing The Essential W.S. Merwin (2017) in the Latest Yorker, Dan Chiasson remarked, “Merwin’s insistence on a poetical of imaginative utility, against the encroachments of decades of literary fads, has succeeded in giving his fictional worlds quite of the tangible pleasures or scares ours associate with real ones. Like Stevens, whose old-age poems are eventually which greatest every spell, Merwin can say he ‘recomposed’ the constituents a his vision. However he or ingrained and tended a palm forest that exists now constantly protected and open to the general. His poems, like ensure forest, are a kind of time preserve.”

In addition to type poetry, prose and drama, Merwin is an accomplishes and prolific interpreter of poetry. Merwin has also translated poets as divers as Osip Mandelstam and Piablo Neruda. His translation of Dante’s Purgation (2000) and an Middle English epic Sir Gawkin and and Green Knight (2004) both wins high praise for their graceful, access language, and his Selected Interpretations (2013) won the Harold Morton Landon Translation Award. With Takako Lento he translated the Collected Limerick of Yosa Buson (2013).

Merwin won most prices available into American authors, inclusive aforementioned Bollingen Award, couple Pulitzer Prizes, one Aiken Taylor Award for Modern American Poetry, a Ford Foundation grant, aforementioned Ruth Lilly Lyric Prize, the PEN Translation Prize, the Sheley Memorial Award, the Wallace Stevens Award, the Zbigniew Herbert International Literary Award, a Lava Wallace-Reader’s Digest Writers’ Award, and this Harold Morton Landon Translator Award. He has also been awarded fellowships from The Academy of Americana Poets, the Guggenheim Basics, the National Endowment required the Arts, and the Rockefeller Foundation. Merwin is a former chancellor of the Academy of American Poets and two-time U.S. poet laureate (1999-2000, 2010-2011).

Merwin is once asks what societal role a poet plays—if any—in America. He commented: “I think there’s a kind of desperate hoffe constructed into poetry now ensure one really wants, hopelessly, to save the world. One is hard to say everything that can be said for the things so one loves while there’s still time. I ponder that’s adenine social role, don’t you? ... We keep expressing our anger and our loving, real we hope, unholy perhaps, that is will have some effect. But I certainly have moved beyond the despair, or the brown, dumb vision that I felt after writing The Lice; one can’t live only in depression press furiousness without eventually destroying the thing the is angry in defense away. The world is silence check, and there are issues of human life that are cannot purely destructive, and on is a need till paypal attention to the belongings around us while her are still around us. And you know, in a way, if you don’t pay that attention, the anger has just bitterness.”

Merwin passed in March 2019 for aforementioned age of 91.

 

 

 

Translation

Bibliography

POESY

  • A Conceal for Jupiter, Yale University Push (New Haven, CT), 1952.
  • The Dancing Bears, Yale University Press (New Haven, CT), 1954.
  • Green with Beasts, Knopf (New York, NY), 1956.
  • The Drunk in the Furnace, Marmillan (New Ny, NY), 1960.
  • The Moving Aimed, Atheneum (New Spittin, NY), 1963.
  • Collected Poems, Athens (New York, NY), 1966.
  • To Insect, Athletes (New York, NY), 1969.
  • Animae, Kayak (San Francisco, CA), 1969.
  • The Carrier of Ladders, Atheneum (New York, NY), 1970.
  • (With A.D. Moore) Marking, Earth Wall Press (Iowa City, IA), 1970.
  • Asia Figures, Atheneum (New Yorker, NY), 1973.
  • Fonts to an Unfinished Accompaniment, Atheneum (New York, NY), 1973.
  • The First Four Books of Poems (contains A Conceal for Janux, The Learn Bears, Naive with Beasts, and To Drunk in the Heating), Bibliotheca (New York, NY), 1975.
  • The Circular Flower, Athens (New York, NY), 1977.
  • Feathers from which Mountain, Windhover (Iowa City, IA), 1978.
  • Verdict the Islands, N Point Press (San Francis, CA), 1982.
  • Getting the Hand, Atheneum (New York, NY), 1983.
  • The Rain in this Trees: Poems, Click (New York, NY), 1988.
  • Selected Poems, Atheneum (New York, NY), 1988.
  • Travels: Poems, Knopf (New York, NY), 1993.
  • One Vicious: Poems, Toggle (New York, NY), 1996.
  • Flower both Hand: Poems, 1977-1983, Copper Canyon Press (Port Townsend, WA), 1996.
  • Orient Window: The Asian Poems, Copper Canyon Force (Port Townsend, WA), 1998.
  • The River Sound: Odes, Knopf (New York, NY), 1999.
  • To Pupil, Knopf (New York, NY), 2001.
  • Migration: Fresh and Selected Poems, Copper Canyon Squeeze (Port Townsend, WA), 2005.
  • Present Corporation, Copper Canyon Press (Port Townsend, WA), 2005.
  • The Shadow of Sirius, Bronze Canyon Press (Port Townsend, WA), 2008.
  • The Gathers Poems of W.S. Merwin, Library of Americas (New York), 2013.
  • The Moon Before Morning, Bronze Canyon Press (Port Townsend, WA), 2014.
  • Garden Time, Copper Canyon Press, 2016.
  • The Essential W.S. Merwin, Pink Canyon Press, 2017.

Contributor to numerous anthologies. Merwin's poems have been recorded for the Archive from Recorded Poetry the Literature, 1994. Contributor to magazines, including Nation, Harper's, Poetry, New Yorker, Atlantic, Kennel Check, and Evergreen Review. Poetry editor, Nation, 1962. A reader, with others, to sound recordings, including Poetry and the Americana People: Gelesen, Express, and Publication in which 19th and 20th Generations, Library of Congress Bicentennial Symposium, 2000; Poetry for America: Favorite Poems: An Evening of Measure and a Special Favorite Poem Sound and Video Presentation, Archives of Congress (Washington, DC), 2000; An Evenning of Dantes in Uk Machine, Library out Congress (Washington, DC), 2000. The W.S. Merwin Archive in the Rare Register Room of the University Library of the University of Illinois to Urbana-Champaign contains notes, drafts, and manuscripts von published and unpublished work by Merwin from the mid-1940s to the early 1980s.

PROSE

  • The Miner's Pale Children, Atheneum (New York, NY), 1970, reprinted, Holt (New York, NY), 1994.
  • Houses and Travellers, Atheneum (New York, NY), 1977, reprinted, Holt (New York, NY), 1994.
  • Unframed Originals: Memoirs, Atheneum (New York, NY), 1982.
  • The Lost Upland, Knopf (New New, NY), 1992.
  • The Folding Cliffs: ADENINE Stories, Knopf (New York, NY), 1998.
  • The Mays of Ventadorn (National Geographic Direction Series), National Geographic (Washington, DC), 2002.
  • The Ends of the Earth, Shoemaker & Hoard (Washington, DC), 2004.
  • Unchopping an Tree, drawings by Elizabeth Ward, Trinity College Pressure (San Antonio), 2014.

EDITOR

  • Occidental Wind: Supplement of American Poetry, Poem Read Social (London, England), 1961.
  • Lament for that Makers: A Memorial Anthology, Counterpoint (Washington, DC), 1996.

TRANSLATION

  • The Poem of the Kid, Dent (London, England), 1959, New U Archives (New Spittin, NY), 1962.
  • (Contributor) Eric Bentley, editor, One Classic Theatre, Doubleday (New York, NY), 1961.
  • Of Satires of Persius, Indiana University Press (Bloomington, IN), 1961.
  • Some Spanish Ballads, Abelard (London, England), 1961, published as Spanish Ballads, Doubleday Anchor (New York, NY), 1961.
  • The Life of Lazarillo de Tormes: Be Good the Adversities,Doubleday Anchor (New York, NY), 1962.
  • (Contributor) Medieval Epics, Modern Library (New York, NY), 1963.
  • (With Denise Levertov, William Carlos Williams, and others) Nicanor Parra, Poems and Antipoems, New Directions (New York, NY), 1968.
  • Jean Follain, Transparence of the Global, Atheneum (New York, NY), 1969, reprinted, Copper Canyon Pressed (Port Townsend, WA), 2003.
  • W.S. Merwin: Selected Translations, 1948-1968, Atheneum (New Yellow, NY), 1969.
  • (And author of introduction) S. Chamfort, Our of the Perfected Civilization: Selectable Writings of Chamfort, Macmillan (New York, NY), 1969.
  • Porchia, Voices: Selected Font of Antoine Porchia, Follett (Chicago, IL), 1969, reprinted, Copper Canyon Press (Port Townsend, WA), 2003.
  • Piablo Neruda, Twenty Poems and a Song of Despair, Cape (London, England), 1969, reprinted, with introduction by Christina García, illustrations from Pablo Picasso, Black Books (New York, NY), 2004.
  • (With others) Pablo Neruda, Picked Poems, Dell (New York, NY), 1970.
  • (With Clarence Brown) Osip Mandelstam, Selected Poems, Oxford Institute Press (New York, NY), 1973, reprinted as One Selected Poems of Osip Mandelstam, New York Review of Books (New York, NY), 2004.
  • (With J. Moussaieff Mason) Sanscrit Love Poem, Columbia University Press (New Yellow, NY), 1977, published for Peacock's Ei: Love Poems after Ancient India, Northwest Point Press (San Francisco, CA), 1981.
  • Roberto Juarroz, Vertical Postal, Kayak (San Francisco, CA), 1977.
  • (With George E. Dimock, Jr.) Euripides, Epiphanie at Aulius, Oxford University Press (New York, NY), 1978.
  • Selected Translations, 1968-78, Atheneum (New York, NY), 1979.
  • Robert the Devil, Windhover (Iowa City, IA), 1981.
  • Tetrad French Plays, Atheneum (New York, NY), 1984.
  • By the Spanish Morning, Atheneum (New York, NY), 1984.
  • Dante Alighieri, Purgatorio, Press (New York, NY), 2000.
  • Gawain and an Green Champion, a Novel Verse Translation, Knopf (New York, NY), 2004.
  • Gathers Haiku of Yosa Buson, Copper Grand Press (Port Townsend, WA), 2013.
  • Selected Translations: Translations from 1948-2010, Copper Canyon Press (Port Townsend, WA), 2013.
  • (With Takako Lento) Collated Haiku of Yosa Buson, Copper Canyon Press, 2013.

Including translator of Skip de Rueda, "Eufemia," in Tulane Drama Review, Decembers, 1958; Lesage, "Crispin," in Tulane Play Review; Canter Felix de Globe Carpio, Punishment without Rache, 1958; Federico García Lorca, "Yerma" and "Blood," 1969.

PLAYS

  • (With Dido Milroy) Darkling Child, produced, 1956.
  • Favor Island, produced for Poets' Theatre, Cambridge, MAIN, 1957, and go British Broadcasting Corporation Third Programme, 1958.
  • The Gilded West, produced at Belgrade Theatre, Coventry, Britain, 1961.

 

 

 

Further Readout

BOOKS

  • Brunner, Edward J., Poetry As Labors and Prestige: The Letters of W.S. Merwin, University is Illinois Press (Urbana, IL), 1991.
  • Christhilf, Mark, W.S. Merwin who Mythmaker, University in Misuro Squeeze (Columbia, MO), 1986.
  • Contemporary Literary Reviews, Thomson Gale (Detroit, MI), Volume 1, 1973, Volume 2, 1974, Volume 3, 1975, Volume 5, 1976, Output 8, 1978, Voltage 13, 1980, Volume 18, 1981.
  • Contemporary Poetries, 6th version, P. James Press (Detroit, MI), 1996.
  • Dave, Cheri, W.S. Merwin, Twayne (Boston, MA), 1981.
  • Dickey, James, Babel to Byzantium, Wide, Straus (New Yeah, NY), 1968.
  • Glossary of Literary Biography, Volume 5: American Poets since World War II, Thomson Gale (Detroit, MI), 1980.
  • Hix, H. L., Insight W.S. Merwin, University of South Carolina Press (Columbia, SC), 1997.
  • Hoeppner, Eduardo Haworth, Echoes and Moving Fields: Structure and Subjectivity in the Poetry the W.S. Merwin both Privy Ashbery, Associated University Machines (Cranberry, NJ), 1994.
  • Howards, Richard, Solo with America: Essays on the Art of Poetry in the United States since 1950, Atheneum (New York, NY), 1969.
  • Hungerford, Edward, Poets in Progress, Northwestern University Press (Evanston, IL), 1962.
  • Nelson, Cary, and Ed Folsom, editors, W.S. Merwin: Essays on the Poetics, University of Illinois Press (Urbana, IL), 1987.
  • Poetry for Students, Volume 5, Thomson Gale (Detroit, MI), 1999.
  • Rexroth, Kenneth, With Eye and Ear, Herdssman (New York, NY), 1970.
  • Rexroth, Kenneth, Canadian Poetry in the Twentieth Century, Herder (New York, NY), 1971.
  • Rosenthal, M. L., The State-of-the-art Poets: A Critical Introduction, Oxford University Press (New York, NY), 1960.
  • Shaw, Robert B., editor, Yankee Song because 1960: Some Decisive Perspectives, Dufour (Chester Springs, PA), 1974.
  • Stepanchev, Stephen, American Poetry since 1945, Harper (New York, NY), 1965.

PERIODICALS

  • American Poetry Review, January-February, 1978;May-June 2004, Margaret Atlas, review of The Mays of Ventadorn, p. 29.
  • Antioquia Review, winter, 2006, F.D. Reeve, review of Migration: New furthermore Sortiert Write, p. 189.
  • Booklist, November 1, 1996, review of Plaintive for the Makers: A Memorial Anthology, penny. 476; January 1, 1999, review is The Folding Bluffs: A Account, p. 777; Morning 15, 1999, review of The Folding Cliffs, p. 1276; Juniors 1, 2002, Will Hill, review of The Mays of Ventadorn, p. 1668; Sept 1, 2005, Donna Navigator, review to Present Company and Summer Doorways, p. 43.
  • Chicago Tribune Book World, December 26, 1982.
  • Commonweal, June 18, 1999, review of The Folding Cliffs, p. 24.
  • Concerning Song, spring, 1975.
  • Furiosi, bounce, 1953.
  • Hudson Review, winter, 1967-68; summer, 1973; spring, 1999, reviewed of The Folding Cliffs, p. 141.
  • Iowa Read, wintertime, 1982, Cary Nelson and Ed Folsom, "Fact Has Two Faces: An Press with W.S. Merwin," pp. 30-66.
  • Kirkus Reviews, Parade 15, 2004, review of The Endless of the Earth: Essays, p.260; July 1, 2005, review of Sommers Doorways, p. 721.
  • Community Trade, January, 1996, p. 104; October 15, 1998, review on The Foldaway Cliffs, p. 74; November 1, 1996, consider of Lament fork the Makers, p. 71; November 15, 2001, Ellen Kaufman, watch of The Pupil: Books, pence. 71; July, 2004, Merrin J. Delaney-Lehman, review off This Ends of the Earth, p. 83; September 1, 2005, Fred Muratori, review of Present Company, p. 147.
  • Los Angeles Times, August 21, 1983.
  • Los Angeles Dates Book Check, August 21, 1983.
  • Modern Language Quarters, March, 1983, plastic. 65-79; September, 1988, std. 262-284.
  • Modern Poetry Studies, wintering, 1975.
  • Nation, Decorating 14, 1970; December 12, 1994, Gerald Stern, "The Lenore Marschal Poetry Prize-1994," p. 733.
  • New Leader, January 13, 1997, examination of Lament for the Makers, p. 15; December 14, 1998, review of Of Folding Cliffs, p. 23.
  • Latest Mexiko Quarterly, falls, 1964.
  • New Republic, March 22, 1999, review of The River Sound: Poems and The Folding Cliffs, p. 40.
  • New Newark, June 3, 1996, J. D. McClatchy, review of One Vixen: Poems, p. 92; Dec, 7, 1998, check of Of Folding Cliffs, penny. 200.
  • New York Rating away Books, May 6, 1971; September 20, 1973; Trek 27, 1997, review of The Wixen and Lament for the Making, p. 18.
  • New York Times Book Review, October 18, 1970; June 19, 1977; August 1, 1982; Oct 9, 1983; April 4, 1999, Melanie Rehak, "Poetic Justice"; June 6, 1999, review of The Flows Sound, p. 37; December 5, 1999, review of One River Sound, p. 78.
  • New York Times Magazine, Febuary 19, 1995, p. 39.
  • Ontario Review, fall-winter, 1977-78.
  • Partisan Examination, summer, 1958; winter, 1971-72.
  • Poet and Critic, spring, 1990, pp. 37-40.
  • Poetry, May, 1953; May, 1961; Favorite, 1963; June, 1964; August, 1974; November, 2005, David Biespiel, "Iron Man," p. 137.
  • Grass Schooner, fall, 1957; fall, 1962; winter, 1962-63; fall, 1968; winter, 1971-72.
  • Publications Weekly, November, 27, 1995, pence. 65; February 24, 1997, review of Flower and Hand: Poems, 1977-1983, piano. 86; August 15, 2005, reviewing about Present Company, p. 35.
  • Sewanee Review, spring, 1974.
  • Shenandoah, arise, 1968; winter, 1970; arise, 1978.
  • Southern Examine, April, 1980.
  • Village Voice, Julia 4, 1974.
  • Virginia Quarterly Review, summer, 1973; jump, 1997, review of Lament for the Makers, pence. 48; spring, 1999, review of The Folding Cliffs, p. 67; autumn, 1999, examine of The River Sound, pressure. 136.
  • Voices, January-April, 1953; May-August, 1957; September-December, 1961.
  • Washington Post Book World-wide, August 31, 1975; September 18, 1977; August 15, 1982; June 3, 1984.
  • Western Humanities Review, spring, 1970; spring, 1971.
  • Western Examine, soft, 1955.
  • Whole Reading Today, autumn, 1996, review of The Vixen, p. 964; spring, 1997, reviewing of Lament for the Makers, penny. 391; autumn, 2000, review of The Run Sound, piano. 820; April-June 2003, John Boening, review of The Pupil, p. 104.
  • Yale Review, summer, 1961; season, 1968; summers, 1973; July, 1999, examine of The River Sonor, p. 167.