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Sorties: Journals and New Essays
James Dickey's creativity as a poet is well known. But there have been few opportunities for his readers to become familiar with the full dimensions of his mind, with the thoughts and perceptions that lie just outside the matter of his poetry. "Sorties" brings together the contents of a journal kept by Dickey for several years and six discerning essays on poetry and the creative process. The journal follows Dickey's mind as it alights on a wide array of topics, ranging from the work of his colleagues to the plotting of a new novel, from the onset of old age to pride over accomplishments in archery and guitar playing. Dickey can be blunt in his opinions, as when he states that "a second-rate writer like Norman Mailer will sit around wondering what on earth it is that Hemingway had that Mailer might possibly be able to get." But the journal also reveals a great capacity for sympathy, as when Dickey tells of his father's long illness, and a revealing candor--"I am Lewis," he writes of his novel Deliverance, "every word is true."
The journal is at its most revealing, however, when Dickey discusses the craft of poetry. "It is good for a poet to remember," he writes, "that the human mind, though in some ways very complicated, is in some others very simple." This awareness that poetry must understand the simplicities of human existence is a recurring concern for Dickey, and he writes with disdain of the "brilliant things" that too often clog poetry, the stale self-absorption that warps the perceptions of many poets. In the essays that make up the second part of the book, Dickey also focuses on poetry, exploring the relation of the poet to his works, the promise of a younger generation ofpoets, and the place of Theodore Roethke as the greatest American poet.
Wide-ranging and acute, "Sorties" opens up for the reader the discriminating mind that lies behind some of the most accomplished and memorable poetry written in America in this century.
The journal is at its most revealing, however, when Dickey discusses the craft of poetry. "It is good for a poet to remember," he writes, "that the human mind, though in some ways very complicated, is in some others very simple." This awareness that poetry must understand the simplicities of human existence is a recurring concern for Dickey, and he writes with disdain of the "brilliant things" that too often clog poetry, the stale self-absorption that warps the perceptions of many poets. In the essays that make up the second part of the book, Dickey also focuses on poetry, exploring the relation of the poet to his works, the promise of a younger generation ofpoets, and the place of Theodore Roethke as the greatest American poet.
Wide-ranging and acute, "Sorties" opens up for the reader the discriminating mind that lies behind some of the most accomplished and memorable poetry written in America in this century.
- GenresNonfictionEssays
240 pages, Paperback
First published April 1, 1984
22 people want to read
About the author
James Dickey
188 books206 followersDickey was born in Atlanta, Georgia. After serving as a pilot in the Second World War, he attended Vanderbilt University. Having earned an MA in 1950, Dickey returned to military duty in the Korean War, serving with the US Air Force. Upon return to civilian life Dickey taught at Rice University in Texas and then at the University of Florida. From 1955 to 1961, he worked for advertising agencies in New York and Atlanta. After the publication of his first book, Into the Stone (Middletown, Conn., 1962), he left advertising and began teaching at various colleges and universities. He became poet-in-residence and Carolina Professor of English at the University of South Carolina.
Dickey's third volume, Buckdancer's Choice (Middletown, 1965), won the prestigious National Book Award in Poetry. From 1966 to 1968 he served as poetry consultant to the Library of Congress. In 1977 Dickey read his poem 'The Strength of Fields' at President Carter's inauguration. The Hollywood film of his novel Deliverance (Boston, 1970) brought Dickey fame not normally enjoyed by poets.
Dickey's poems are a mixture of lyricism and narrative. In some volumes the lyricism dominates, while in others the narrative is the focus. The early books, influenced obviously though not slavishly by Theodore Roethke and perhaps Hopkins, are infused with a sense of private anxiety and guilt. Both emotions are called forth most deeply by the memories of a brother who died before Dickey was born ('In the Tree House at Night') and his war experiences ('Drinking From a Helmet'). These early poems generally employ rhyme and metre.
With Buckdancer's Choice, Dickey left traditional formalism behind, developing what he called a 'split-line' technique to vary the rhythm and look of the poem. Some critics argue that by doing so Dickey freed his true poetic voice. Others lament that the lack of formal device led to rhetorical, emotional, and intellectual excess. The truth probably lies somewhere between these two assessments, and it will be left to the reader to decide which phase of Dickey's career is most attractive.
Dickey's most comprehensive volume is The Whole Motion (Hanover, NH, and London, 1992). His early poems are collected in The Early Motion (Middletown, 1981). Recent individual volumes include The Eagle's Mile (Hanover and London, 1990) and Falling, May Day Sermon, and Other Poems (Hanover and London, 1982). Dickey has also published collections of autobiographical essays, Self Interviews (Garden City, NY, 1970; repr. New York, 1984) and Sorties (Garden City, 197 1; repr. New York, 1984).
From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamilton. Oxford: Oxford University Press, 1994. Copyright © 1994 by Oxford University Press.
Dickey's third volume, Buckdancer's Choice (Middletown, 1965), won the prestigious National Book Award in Poetry. From 1966 to 1968 he served as poetry consultant to the Library of Congress. In 1977 Dickey read his poem 'The Strength of Fields' at President Carter's inauguration. The Hollywood film of his novel Deliverance (Boston, 1970) brought Dickey fame not normally enjoyed by poets.
Dickey's poems are a mixture of lyricism and narrative. In some volumes the lyricism dominates, while in others the narrative is the focus. The early books, influenced obviously though not slavishly by Theodore Roethke and perhaps Hopkins, are infused with a sense of private anxiety and guilt. Both emotions are called forth most deeply by the memories of a brother who died before Dickey was born ('In the Tree House at Night') and his war experiences ('Drinking From a Helmet'). These early poems generally employ rhyme and metre.
With Buckdancer's Choice, Dickey left traditional formalism behind, developing what he called a 'split-line' technique to vary the rhythm and look of the poem. Some critics argue that by doing so Dickey freed his true poetic voice. Others lament that the lack of formal device led to rhetorical, emotional, and intellectual excess. The truth probably lies somewhere between these two assessments, and it will be left to the reader to decide which phase of Dickey's career is most attractive.
Dickey's most comprehensive volume is The Whole Motion (Hanover, NH, and London, 1992). His early poems are collected in The Early Motion (Middletown, 1981). Recent individual volumes include The Eagle's Mile (Hanover and London, 1990) and Falling, May Day Sermon, and Other Poems (Hanover and London, 1982). Dickey has also published collections of autobiographical essays, Self Interviews (Garden City, NY, 1970; repr. New York, 1984) and Sorties (Garden City, 197 1; repr. New York, 1984).
From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamilton. Oxford: Oxford University Press, 1994. Copyright © 1994 by Oxford University Press.
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Displaying 1 - 4 of 4 reviews
November 12, 2020
I found this one not long after Self-Interviews. I didn't love this one as I did Interviews, but still found it an excellent read for someone interested in writing and poetry. I was probably around 22 when I read this. It will be interesting to see what I think about it as I reread it 35 years later.
February 10, 2017
"The pure adventurousness of making metaphors and poems is a condition that must be felt to be believed. I remember how tremendously excited I was when I first formulated to myself the proposition that the poet is not to be limited by the literal truth: that he is not trying to 'tell' the truth: he is trying to 'make' it. There fore he is absolutely free, in the sense of the definition of creativity as the capacity to act according to laws of one's own devising. When one grasps this, the feeling of liberation and the attendant devotion to one's own vision are so exciting that the dedication of a life to following these things wherever they may lead seems a small enough endeavor, the least that one can do. For what the poet is trying to accomplish is to discover relationship that give life: mental, physical, and imaginative life, the fullest and most electric sense of being."
– "Metaphor as Pure Adventure"
– "Metaphor as Pure Adventure"
July 4, 2012
I was torn whether to give this book two stars or three. Some would say it deserves four or five, and I wouldn't put up an argument with them, but to me the idea of just publishing a great poet's journal of thoughts, though interesting on paper, didn't work for me once all was said and done.
There's some great kernels of wisdom and fine writing throughout, as well as some surprising digs towards poets I myself have a liking for, such as Plath, but overall I found my eyes begging to skim through most of the pages.
Of course, this is all just opinion. I'd say if you're a big fan of Dickey you need to definitely check this out, if not, there really isn't any reason.
There's some great kernels of wisdom and fine writing throughout, as well as some surprising digs towards poets I myself have a liking for, such as Plath, but overall I found my eyes begging to skim through most of the pages.
Of course, this is all just opinion. I'd say if you're a big fan of Dickey you need to definitely check this out, if not, there really isn't any reason.
May 10, 2020
Sorties by James Dickey (Louisiana State University Press 1984)(818). This book is made up of excerpts from a journal the author kept along with six selected essays. I stumbled across this volume as an impressionable college boy and was greatly moved by it. After rereading it many years later, I fail to see the attraction. My rating: 7/10, finished 1978.
Displaying 1 - 4 of 4 reviews