Biography of Galway Kinnell
Galway Kinnell is an American poet. He was Poet Laureate of Vermont from 1989 to 1993. An admitted follower of Walt Whitman , Kinnell rejects the idea of seeking fulfillment by escaping into the imaginary world. His best-loved and most anthologized poems are "St. Francis and the Sow" and "After Making Love We Hear Footsteps".
Born in Providence, Rhode Island, Kinnell said that as a youth he was turned on to poetry by Edgar Allan Poe and Emily Dickinson, drawn to both the musical appeal of their poetry and the idea that they led solitary lives. The allure of the language spoke to what he describes as the homogeneous feel of his hometown, Pawtucket, Rhode Island. He has also described himself as an introvert during his childhood.
Kinnell studied at Princeton University, graduating in 1948 alongside friend and fellow poet W.S. Merwin. He received his master of arts degree from the University of Rochester. He traveled extensively in Europe and the Middle East, and went to Paris on a Fulbright Fellowship. During the 1960s, the Civil Rights Movement in the United States caught his attention. Upon returning to the US, he joined CORE (Congress of Racial Equality) and worked on voter registration and workplace integration in Hammond, Louisiana. This effort got him arrested. In 1968, he signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse tax payments in protest against the Vietnam War. Kinnell draws upon both his involvement with the civil rights movement and his experiences protesting against the Vietnam War in his book-long poem The Book of Nightmares.
Kinnell was the Erich Maria Remarque Professor of Creative Writing at New York University and a Chancellor of the American Academy of Poets. As of 2011, he is retired and resides at his home in Vermont.
While much of Kinnell's work seems to deal with social issues, it is by no means confined to one subject. Some critics have pointed to the spiritual dimensions of his poetry, as well as the nature imagery present throughout his work. “The Fundamental Project of Technology” deals with all three of those elements, creating an eerie, chant-like and surreal exploration of the horrors atomic weapons inflict on humanity and nature. Sometimes Kinnell utilizes simple and brutal images (“Lieutenant! / This corpse will not stop burning!” from “The Dead Shall be Raised Incorruptible”) to address his anger at the destructiveness of humanity, informed by Kinnell’s activism and love of nature. There’s also a certain sadness in all of the horror—“Nobody would write poetry if the world seemed perfect.” There’s also optimism and beauty in his quiet, ponderous language, especially in the large role animals and children have in his later work (“Other animals are angels. Human babies are angels”), evident in poems such as “Daybreak” and “After Making Love We Hear Footsteps”.
In addition to his works of poetry and his translations, Kinnell published one novel (Black Light, 1966) and one children's book (How the Alligator Missed Breakfast, 1982).
A close friend of James Wright until Wright's death in 1980, Kinnell wrote two elegies to Wright, which appear in From the Other World: Poems in Memory of James Wright.
Galway Kinnell's Works:
What a Kingdom It Was. Houghton Mifflin. 1960.
Flower Herding on Mount Monadnock. Houghton Mifflin. 1964.
Body Rags. Houghton Mifflin. 1968.
The Book of Nightmares. Houghton Mifflin Harcourt. 1973.
The Avenue Bearing the Initial of Christ into the New World: Poems 1946-64 (1974)
Walking Down the Stairs (a collection of interviews) (1978).
Mortal Acts, Mortal Words. Houghton Mifflin. 1980.
"After Making Love We Hear Footsteps". Copper Canyon Press. 1980.
Blackberry Eating. William B. Ewert. 1980.
Selected Poems. Houghton Mifflin. 1982. Pulitzer Prize; National Book Award
How the Alligator Missed Breakfast. Illustrator Lynn Munsinger. Houghton Mifflin. 1982.
"The Fundamental Project of Technology". William B. Ewert. 1983.
The Past. Houghton Mifflin. 1985.
When One Has Lived a Long Time Alone. Knopf. 1990.
Three Books. Houghton Mifflin Harcourt. 2002.
Imperfect Thirst. Houghton Mifflin Harcourt. 1996.
A New Selected Poems. Houghton Mifflin Harcourt. 2001. National Book Award finalist.
The avenue bearing the initial of Christ into the New World: poems, 1953-1964. Houghton Mifflin Harcourt. 2002.
Strong Is Your Hold. Houghton Mifflin. 2006.
Yves Bonnefoy (1968). On the motion and immobility of Douve. Translator Galway Kinnell. Ohio University Press.
François Villon (1982). The poems of François Villon. Translator Galway Kinnell. UPNE.
Yvan Goll (1970). Lackawanna Elegy. Translator Galway Kinnell. Sumac Press.
Yvan Goll (1968). Yvan Goll, Selected Poems. Translators Paul Zweig, Jean Varda, Robert Bly, George Hitchcock, Galway Kinnell. Kayak Books.
Rainer Maria Rilke (2000). Galway Kinnell. ed. The Essential Rilke. Translators Galway Kinnell, Hannah Liebmann. HarperCollins.
Black Light. Houghton Mifflin. 1966.
This page is based on the copyrighted Wikipedia Galway Kinnell; it is used under the Creative Commons Attribution-ShareAlike 3.0 Unported License. You may redistribute it, verbatim or modified, providing that you comply with the terms of the CC-BY-SA.
Galway Kinnell Poems
Wait, for now. Distrust everything, if you have to. But trust the hours. Haven't they carried you everywhere, up to now?
I eat oatmeal for breakfast. I make it on the hot plate and put skimmed milk on it. I eat it alone. I am aware it is not good to eat oatmeal alone.
I love to go out in late September among the fat, overripe, icy, black blackberries to eat blackberries for breakfast, the stalks very prickly, a penalty
After Making Love We Hear Footsteps
For I can snore like a bullhorn or play loud music or sit up talking with any reasonably sober Irishman and Fergus will only sink deeper
St. Francis And The Sow
The bud stands for all things, even those things that don't flower, for everything flowers, from within, of self-blessing;
On the tidal mud, just before sunset, dozens of starfishes were creeping. It was as though the mud were a sky
At intermission I find her backstage still practicing the piece coming up next. She calls it the "solo in high dreary." Her bow niggles at the string like a hand
How Could You Not
-- for Jane kenyon It is a day after many days of storms.
I The stars were wild that summer evening As on the low lake shore stood you and I
Poem Of Night
1 I move my hand over slopes, falls, lumps of sight,
There is a fork in a branch of an ancient, enormous maple, one of a grove of such trees, where I climb sometimes and sit and look out
Telephoning In Mexican Sunlight
Talking with my beloved in New York I stood at the outdoor public telephone in Mexican sunlight, in my purple shirt. Someone had called it a man/woman
Vapor Train Reflected In The Frog Pond
The old watch: their thick eyes puff and foreclose by the moon.The young, heads trailed by the beginnings of necks,
He climbed to the top of one of those million white pines set out across the emptying pastures of the fifties - some program to enrich the rich
There is a fork in a branch
of an ancient, enormous maple,
one of a grove of such trees,
where I climb sometimes and sit and look out
over miles of valleys and low hills.
Today on skis I took a friend
to show her the trees. We set out
down the road, turned in at
the lane which a few weeks ago,