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"Richard Hugo's concern is the unenviable, the unvisited, even the uninviting, which he must invest with his own deprivations, his own private war. The distinctiveness of impulse int he language, the movement organized in single syllables by the craving mind, this credible richness is related to, is even derived from, the poverty of the places, local emanations, free (or freed) to be the poet's own." --Richard Howard "Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image." --Richard Howard
"Richard Hugo's concern is the unenviable, the unvisited, even the uninviting, which he must invest with his own deprivations, his own private war. The distinctiveness of impulse int he language, the movement organized in single syllables by the craving mind, this credible richness is related to, is even derived from, the poverty of the places, local emanations, free (or freed) to be the poet's own." --Richard Howard "Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image." --Richard Howard
Richard Hugo, whom Carolyn Kizer has called” one of the most passionate, energetic, and honest poets living,” here offers an extraordinary collection of new poems, each one a “letter” or a “dream.” Both letters and dreams are special manifestations of alone-ness; Hugo’s special senses of alone-ness, of places, and of other people are the forces behind his distinctively American and increasingly authoritative poetic voice. Each letter is written from a specific place that Hugo has made his own (a “triggering town,” as he has called it elsewhere) to a friend, a fellow poet, an old love. We read over the poet’s shoulder as the town triggers the imagination, the friendship is re-opened, the poet’s selfhood is explored and illuminated. The “dreams” turn up unexpectedly (as dreams do) among the letters; their haunting images give further depth to the poet’s exploration. Are we overhearing them? Who is the “you” that dreams?
The Encyclopedia of American Poetry: The Twentieth Century contains over 400 entries that treat a broad range of individual poets and poems, along with many articles devoted to topics, schools, or periods of American verse in the century. Entries fall into three main categories: poet entries, which provide biographical and cultural contexts for the author's career; entries on individual works, which offer closer explication of the most resonant poems in the 20th-century canon; and topical entries, which offer analyses of a given period of literary production, school, thematically constructed category, or other verse tradition that historically has been in dialogue with the poetry of the United States.
Of Richard Hugo's Making Certain It Goes On, David Wagoner has written: "Richard Hugo spared himself (and us) no pains or joys in making the wonderful, vigorous original poems brought together in this single collection. His was and is a very important voice in modern American poetry." Hugo was also an editor of the Yale Younger Poets series and a distinguished teacher and master of the personal essay. Now many of his essays have been assembled and arranged by Ripley Hugo, the poet's widow and a writer and teacher, and Lois and James Welch, writers and close friends of the poet. Together the essays constitute a compelling autobiographical narrative that takes Hugo from his lonely childhood through the war years and his working and creative life to an interview just before his death in 1982. William Matthews, also a friend of Hugo's, has written an introduction.
Richard Hugo, who died suddenly in 1982, was, in James Wright's words, 'a great poet, true to our difficult life, ' Making Certain It Goes On brings together, as Hugo wished, the poems published in book form during his lifetime, together with the moving and courageous new poems he wrote in his last years. This, then, is the definitive collection of a major American poet's enduring works.
Literary histories, of course, do not have a reason for being unless there exists the literature itself. This volume, perhaps more than others of its kind, is an expression of appreciation for the talented and dedicated literary artists who ignored the odds, avoided temptations to write for popularity or prestige, and chose to write honestly about the American West, believing that experiences long knowns to be of historical importance are also experiences that need and deserve a literature of importance.
The ethnically diverse scope, broad chronological coverage, and mix of biographical, critical, historical, political, and cultural entries make this the most useful and exciting poetry reference of its kind for students today. American poetry springs up out of all walks of life; its poems are "maternal as well as paternal...stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine," as Walt Whitman wrote, adding "Of every hue and caste am I, of every rank and religion." Written for high school and undergraduate students, this two-volume encyclopedia covers U.S. poetry from the Colonial era to the present, offering full treatments of hundreds of key poets of the American canon. What sets this reference apart is that it also discusses events, movements, schools, and poetic approaches, placing poets in their social, historical, political, cultural, and critical contexts and showing how their works mirror the eras in which they were written. Readers will learn about surrealism, ekphrastic poetry, pastoral elegy, the Black Mountain poets, and "language" poetry. There are long and rich entries on modernism and postmodernism as well as entries related to the formal and technical dimensions of American poetry. Particular attention is paid to women poets and poets from various ethnic groups. Poets such as Amiri Baraka, Nathaniel Mackey, Natasha Trethewey, and Tracy Smith are featured. The encyclopedia also contains entries on a wide selection of Latino and Native American poets and substantial coverage of the avant-garde and experimental movements and provides sidebars that illuminate key points.
Richard Hugo has been described by Carolyn Kizer as "one of the most passionate, energetic, and honest poets now living." Nowhere has that passion, energy, and honesty been more evident than in ?White Center, his newest volume of poems. "That Richard Hugo's poetry creates in his readers an almost indistinguishable desire for more," writes the critic and poet Dave Smith, "is the mark of his ability to reach those deep pools in us where we wait for passionate engagement. What Hugo gives us is the chance to begin again and a world where that beginning is ever possible." Here, for his ever-growing body of readers, are more of those opportunities.
Seattle, with its spectacular natural beauty and rough frontier history, has inspired writers from its earliest days. This anthology spans seven decades and includes fiction, memoirs, histories, and journalism that define the city or use it as a setting, imparting the flavor of the city through a literary prism. Reading Seattle features classics by Horace R. Cayton, Richard Hugo, Betty MacDonald, Mary McCarthy, Murray Morgan, and John Okada as well as more recent works by Sherman Alexie, Lynda Barry, David Guterson, J. A. Jance, Jonathan Raban, and others. It includes cutting-edge work by emerging talents and reintroduces works by important Seattle writers who may have been overlooked in recent years. The writers featured in this volume explore a variety of neighborhoods and districts within the city, delineating urban spaces and painting memorable portraits of characters both historical and fictional.