My Poetry Biography
source(google.com.pk)
When Dillon resigned in 1949, he suggested that his assistant editor, Hayden Carruth, replace him. Carruth wanted to print more and longer works by established poets, reducing the number of new voices that appeared. He also continued to tilt the balance of the magazine toward prose, at one point going so far as to include only eight pages of poetry in an issue. Not surprisingly, perhaps, Carruth lasted only a year in the job.
Karl Shapiro, packing up for the move from 1020 N. Lake Shore Drive to the Newberry Library.
When Karl Shapiro was named editor in 1950, he was thirty-seven years old and already a celebrity—a war veteran, winner of the Pulitzer Prize for his volume of war poems, and a former Consultant to the Library of Congress (forerunner to today's poet laureate position). One of Shapiro's first editorial decisions was to eliminate the motto from Walt Whitman that had appeared on every issue: "To have great poets, there must be great audiences too." Perhaps he wanted to update Poetry's image, which had become a little lackluster, or perhaps he was responding to this comment made by Eliot in a letter: " Poetry remains obstinately the same in appearance as in the days when it printed 'Prufrock.' (I have sometimes hoped to see a different quotation, whether from Whitman or somebody else, on the back of it; but even this conservatism is expressive of tenacity.)"
Shapiro's interest in translation ensured that several interesting special issues came out—on Greek and post-war French poetry, for example—as well as long sections devoted to poets such as Juan Ramon Jiménez several years before he received the Nobel Prize. Like editors before and after him, though, Shapiro finally tired of the many demands upon his attention and left after five years.
Shapiro's replacement, Henry Rago, met Monroe at age fourteen and published his first poem in Poetry at sixteen. A lawyer by training and meticulous about details, he was also an energetic fundraiser and interpreted the Open Door policy perhaps more liberally than his immediate predecessors, encouraging young poets—even while gently rejecting their work. He was even more eclectic in his tastes than Monroe, publishing work from many different schools, including Confessional poets such as Sylvia Plath, formalists such as Richard Wilbur and James Merrill, and "Objectivists" such as Louis Zukofsky. Rago's fourteen-year tenure (1955-1969) coincided with a second flowering of American poetry and poets, most of whom Rago published extensively, including Robert Duncan, Robert Bly, W.S. Merwin, Galway Kinnell, Donald Hall, Carolyn Kizer, James Wright, and James Schuyler.
Daryl Hine, editor of Poetry, c. 1968.
Daryl Hine (1969-1977) was Rago's replacement. His tenure saw remarkable formalist poetry brought to the forefront, as well as Poetry's first political stance, an anti-Vietnam War issue (September 1970). The appointment of John Frederick Nims in 1978 found greater numbers of newer, younger voices being published, and Nims had the reputation of laboring over many of his rejection notes, providing comments and guidance.
Joseph Parisi (1984-2002) and the current editor, Christian Wiman, have carried on the traditions of showcasing established poets alongside new voices (usually one-quarter to one-third of each issue is devoted to first appearances), and presenting to American readers significant selections of poetry in translation, in addition to reviews and essays. Yet at a time when more and more people are writing poetry ( Poetry now receives over ninety thousand submissions a year), concerns about what is perceived as a declining audience for poetry have also grown. Except for the loftiness of tone, however, a comment published in the magazine's first issue sounds as relevant today as it did nearly a century ago:
. . . Anglo-Saxons are always forgetting that poetry is one of the great arts of expression. Many of our customs conspire to cause, almost to force, this forgetting. Thousands of us have been educated to a dark and often permanent ignorance of classic poetry . . . one early acquires a wary distrust of it as something one must constantly labor over. Aside from gaining in childhood this strong, practical objection to famous poetry . . . .
Despite the enduring nature of these worries about poetry's future, recent editors have added to their many responsibilities the need to develop poetry's readership by creating programs for libraries, organizing community events, and commissioning broadcasts and tape-recordings by poets. As Poetry's activities have expanded, so have its financial requirements, and Parisi's tenure as editor coincided with the single largest change at the magazine since its founding.
source(google.com.pk)
When Dillon resigned in 1949, he suggested that his assistant editor, Hayden Carruth, replace him. Carruth wanted to print more and longer works by established poets, reducing the number of new voices that appeared. He also continued to tilt the balance of the magazine toward prose, at one point going so far as to include only eight pages of poetry in an issue. Not surprisingly, perhaps, Carruth lasted only a year in the job.
Karl Shapiro, packing up for the move from 1020 N. Lake Shore Drive to the Newberry Library.
When Karl Shapiro was named editor in 1950, he was thirty-seven years old and already a celebrity—a war veteran, winner of the Pulitzer Prize for his volume of war poems, and a former Consultant to the Library of Congress (forerunner to today's poet laureate position). One of Shapiro's first editorial decisions was to eliminate the motto from Walt Whitman that had appeared on every issue: "To have great poets, there must be great audiences too." Perhaps he wanted to update Poetry's image, which had become a little lackluster, or perhaps he was responding to this comment made by Eliot in a letter: " Poetry remains obstinately the same in appearance as in the days when it printed 'Prufrock.' (I have sometimes hoped to see a different quotation, whether from Whitman or somebody else, on the back of it; but even this conservatism is expressive of tenacity.)"
Shapiro's interest in translation ensured that several interesting special issues came out—on Greek and post-war French poetry, for example—as well as long sections devoted to poets such as Juan Ramon Jiménez several years before he received the Nobel Prize. Like editors before and after him, though, Shapiro finally tired of the many demands upon his attention and left after five years.
Shapiro's replacement, Henry Rago, met Monroe at age fourteen and published his first poem in Poetry at sixteen. A lawyer by training and meticulous about details, he was also an energetic fundraiser and interpreted the Open Door policy perhaps more liberally than his immediate predecessors, encouraging young poets—even while gently rejecting their work. He was even more eclectic in his tastes than Monroe, publishing work from many different schools, including Confessional poets such as Sylvia Plath, formalists such as Richard Wilbur and James Merrill, and "Objectivists" such as Louis Zukofsky. Rago's fourteen-year tenure (1955-1969) coincided with a second flowering of American poetry and poets, most of whom Rago published extensively, including Robert Duncan, Robert Bly, W.S. Merwin, Galway Kinnell, Donald Hall, Carolyn Kizer, James Wright, and James Schuyler.
Daryl Hine, editor of Poetry, c. 1968.
Daryl Hine (1969-1977) was Rago's replacement. His tenure saw remarkable formalist poetry brought to the forefront, as well as Poetry's first political stance, an anti-Vietnam War issue (September 1970). The appointment of John Frederick Nims in 1978 found greater numbers of newer, younger voices being published, and Nims had the reputation of laboring over many of his rejection notes, providing comments and guidance.
Joseph Parisi (1984-2002) and the current editor, Christian Wiman, have carried on the traditions of showcasing established poets alongside new voices (usually one-quarter to one-third of each issue is devoted to first appearances), and presenting to American readers significant selections of poetry in translation, in addition to reviews and essays. Yet at a time when more and more people are writing poetry ( Poetry now receives over ninety thousand submissions a year), concerns about what is perceived as a declining audience for poetry have also grown. Except for the loftiness of tone, however, a comment published in the magazine's first issue sounds as relevant today as it did nearly a century ago:
. . . Anglo-Saxons are always forgetting that poetry is one of the great arts of expression. Many of our customs conspire to cause, almost to force, this forgetting. Thousands of us have been educated to a dark and often permanent ignorance of classic poetry . . . one early acquires a wary distrust of it as something one must constantly labor over. Aside from gaining in childhood this strong, practical objection to famous poetry . . . .
Despite the enduring nature of these worries about poetry's future, recent editors have added to their many responsibilities the need to develop poetry's readership by creating programs for libraries, organizing community events, and commissioning broadcasts and tape-recordings by poets. As Poetry's activities have expanded, so have its financial requirements, and Parisi's tenure as editor coincided with the single largest change at the magazine since its founding.
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
My Poetry 2013 Pics Pictures Images Photos
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