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This second collection of John Updike's poetry is equally divided between poems that, in their verbal jugglery and humorous bias, seem to qualify as “light” and poems that, one way or other, cross the problematic border into the general realm of poetry. The distinction cannot be clear-cut. The poet is consistently concerned with Man’s cosmic embarrassment, and the same vision illuminates the creatures of “The High Hearts” and “Seagulls.” Science and religion, so frequently and variously invoked, frame a single paradox, the paradox of the mundane; and each poem, whether inspired by an antic headline or a suburban landscape, rejoices in the elusive surface of created things. When The Carpentered Hen, John Updike’s first collection of verse, was published, Phyllis McGinley wrote: “I have been happily reading Mr. Updike in The New Yorker for some time and am happy, now, to own him collected. When he first appeared in that magazine, I was so elated to see a new name in light verse that I felt like crying with the Ancient Mariner ‘A Sail, A Sail!’ His is what poetry of this sort exactly out to be—playful but elegant, sharp-eyed, witty.” In the Saturday Review, David McCord wrote: “Furthermore, he is a graceful border-crosser (light verse to poem) as Auden has been; as Betjeman and McGinley frequently are.”
John Updike’s first collection of verse since Midpoint takes its title from a poem about insomnia. Throughout, this is poetry with its eyes wide open, restlessly alert for the oddities of reality and the double entendres of imagination. Fanciers of light verse will find a middle section of delicate fossil prints left by this vanished form; readers of Mr. Updike’s fiction will recognize some of the landscapes and preoccupations. In three long poems he, in turn, remembers a boyhood Sunday in Pennsylvania, addresses aspects of a Harvard education, and contemplates, with a Dionysian verve, the aesthetic challenge posed by the new sexual candor (“We must assimilate cunts to our creed of beauty”). Shorter poems treat of spring and flying, of gold and the Caribbean, of sand dollars and bicycle chains, of the shades of bliss and variety of phenomena accessible to a man past the midpoint of his life, trying to pace himself as he heads toward Nandi.
Now in paperback: five decades of witty, intimate, and moving poems--written between 1953 and 2008--with the cumulative force of an autobiography in verse, by this master of American letters. Though John Updike is widely known as one of America's greatest writers of prose, both his first book and his last were poetry collections, and in the fifty years between he published six other volumes of verse. Here, Christopher Carduff has selected the best of his lifework in poetry: 129 of his most significant and accomplished poems, from precocious undergraduate efforts to frequently anthologized midcareer classics to dozens of later works in a form that Updike made his own, the blank-verse sonnet. Art, science, popular culture, foreign travel, erotic love, and the beauty of the man-made and God-given worlds--these recurring topics provided Updike ever-surprising occasions for wonder and matchless verbal invention. His Selected Poems is, as Brad Leithauser writes in his introduction, a celebration of American life in the second half of the twentieth century: "No other writer of his time captured so much of this passing pageant. That he did so with brio and delight and nimbleness is another reason to celebrate our noble celebrant."
An acclaimed collection of poetry from one of the greatest American writers of the twentieth century, the author of the Rabbit series. As a present to John Updike on his fiftieth birthday, and as a treat for his readers, his first book, a collection of light verse originally published twenty-five years ago, was brought back into print, with an author’s foreword and some small revisions. Many of these poems were written when the author was a young art student in England and a “Talk of the Town” reporter for The New Yorker, which published over forty of them. They deal with the quiddities of things, the oddities of science, quirks of American life (especially as reported in Life magazine during those smiling Eisenhower years), and moments of epiphany in literature and nature. A number—“Ex-Basketball Player,” “Superman,” “Mirror,” “Quilt”—have been frequently reprinted in anthologies. All show a sharp ear, a fond eye, and an active though not always light-hearted fancy. Written mainly to amuse, Updike’s early verse was also, as his foreword states, “a way of dealing with the universe, an exercise of the Word.” Admirers who know him mostly through his fiction should be delighted to encounter what he calls “these old evidences of my own high spirits.” The Carpentered Hen, in recent years a hard-to-get collector’s item, now again. unhinges her wings, abandons her nest of splinter, and sings.
A critical analysis of Updike's stories, essays, poems, and reviews.
“The idea of verse, of poetry, has always, during forty years spent working primarily in prose, stood at my elbow, as a standing invitation to the highest kind of verbal exercise—the most satisfying, the most archaic, the most elusive of critical control. In hotel rooms and airplanes, on beaches and Sundays, at junctures of personal happiness or its opposite, poetry has comforted me with its hope of permanence, its packaging of flux.” Thus John Updike writes in introducing his Collected Poems. The earliest poems here date from 1953, when Updike was twenty-one, and the last were written after he turned sixty. Almost all of those published in his five previous collections are included, with some revisions. Arranged in chronological order, the poems constitute, as he says, “the thread backside of my life’s fading tapestry.” An ample set of notes at the back of the book discusses some of the hidden threads, and expatiates upon a number of fine points. Nature—tenderly intricate, ruthlessly impervious—is a constant and ambiguous presence in these poems, along with the social observation one would expect in a novelist. No occasion is too modest or too daily to excite metaphysical wonder, or to provoke a lyrical ingenuity of language. Yet even the wittiest of the poems are rooted to the ground of experience and fact. “Seven Odes to Seven Natural Processes” attempt to explicate the physical world with a directness seldom attempted in poetry. Several longer poems—“Leaving Church Early,” “Midpoint”—use autobiography to proclaim the basic strangeness of existence.