What do you think?
Rate this book
To Sound Like Yourself: Essays on Poetry
In his first collection of essays on poetry in 27 years, W.D. Snodgrass goes after that seminal quality, the poet’s individual voice, that separates the best poetry from the merely technical and pedantic. Beginning with an essay on the poetic impulse, and continuing through prosody and musicality, Snodgrass gives us an essential handbook for poets and poetry readers. Responsible for the emergence of American confessional poetry, W.D. Snodgrass won the 1960 Pulitzer Prize for Poetry for his first book, Heart’s Needle. He lives with his wife, critic and translator Kathleen Snodgrass, in Erieville, New York, and San Miguel de Allende, Mexico.
280 pages, Paperback
First published October 1, 2002
1 person is currently reading
35 people want to read
About the author
W.D. Snodgrass
85 books47 followersWilliam De Witt Snodgrass, pseudonym S. S. Gardons, is an American poet and a 1960 Pulitzer Prize for Poetry winner.
Snodgrass's first poems appeared in 1951, and throughout the 1950's he published in some of the most prestigious magazines: Botteghe Oscure, Partisan Review, The New Yorker, The Paris Review and The Hudson Review. However, in 1957, five sections from a sequence entitled Heart's Needle were included in Hall, Pack and Simpson's anthology, New Poets of England and America, and these were to mark a turning-point. When Lowell had been shown early versions of these poems, in 1953, he had disliked them, but now he was full of admiration.
By the time Heart's Needle was published, in 1959, Snodgrass had already won the The Hudson Review Fellowship in Poetry and an Ingram Merrill Foundation Poetry Prize. However, his first book brought him more: a citation from the Poetry Society of America, a grant from the National Institute of Arts, and, most important of all, 1960's Pulitzer Prize in Poetry. It is often said that Heart's Needle inaugurated confessional verse. Snodgrass disliked the term. Still, it should be pointed out that the genre he was reviving here seemed revolutionary to most of his contemporaries, reared as they had been on the anti-expressionistic principles of the New Critics. Snodgrass's confessional work was to have a profound effect on many of his contemporaries, amongst them, most importantly, Robert Lowell.
Snodgrass's first poems appeared in 1951, and throughout the 1950's he published in some of the most prestigious magazines: Botteghe Oscure, Partisan Review, The New Yorker, The Paris Review and The Hudson Review. However, in 1957, five sections from a sequence entitled Heart's Needle were included in Hall, Pack and Simpson's anthology, New Poets of England and America, and these were to mark a turning-point. When Lowell had been shown early versions of these poems, in 1953, he had disliked them, but now he was full of admiration.
By the time Heart's Needle was published, in 1959, Snodgrass had already won the The Hudson Review Fellowship in Poetry and an Ingram Merrill Foundation Poetry Prize. However, his first book brought him more: a citation from the Poetry Society of America, a grant from the National Institute of Arts, and, most important of all, 1960's Pulitzer Prize in Poetry. It is often said that Heart's Needle inaugurated confessional verse. Snodgrass disliked the term. Still, it should be pointed out that the genre he was reviving here seemed revolutionary to most of his contemporaries, reared as they had been on the anti-expressionistic principles of the New Critics. Snodgrass's confessional work was to have a profound effect on many of his contemporaries, amongst them, most importantly, Robert Lowell.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
