Biography of Robinson Jeffers
John Robinson Jeffers was an American poet, known for his work about the central California coast. Most of Jeffers' poetry was written in classic narrative and epic form, but today he is also known for his short verse, and considered an icon of the environmental movement.
Jeffers was born in Allegheny, Pennsylvania (now part of Pittsburgh), the son of a Presbyterian minister and biblical scholar, Reverend Dr. William Hamilton Jeffers, and Annie Robinson Tuttle. His brother was Hamilton Jeffers, who became a well-known astronomer, working at Lick Observatory. His family was supportive of his interest in poetry. He traveled through Europe during his youth and attended school in Switzerland. He was a child prodigy, interested in classics and Greek and Latin language and literature. At sixteen he entered Occidental College. At school, he was an avid outdoorsman, and active in the school's literary society.
After he graduated from Occidental Jeffers went to the University of Southern California to study medicine. He met Una Call Kuster in 1906; she was three years older than he was, a graduate student, and the wife of a Los Angeles attorney. In 1910 he enrolled as a forestry student at the University of Washington in Seattle, a course of study that he abandoned after less than one year, at which time he returned to Los Angeles. Sometime before this, he and Una had begun an affair that became a scandal, reaching the front page of the Los Angeles Times in 1912. After Una spent some time in Europe to quiet things down, the two were married in 1913, and moved to Carmel, California, where Jeffers constructed Tor House and Hawk Tower. The couple had a daughter who died a day after birth in 1914, and then twin sons in 1916. Una died of cancer in 1950. Jeffers died in 1962; an obituary can be found in the New York Times, January 22, 1962.
In the 1920s and 1930s, at the height of his popularity, Jeffers was famous for being a tough outdoorsman, living in relative solitude and writing of the difficulty and beauty of the wild. He spent most of his life in Carmel, California, in a granite house that he had built himself called "Tor House and Hawk Tower". Tor is a Celtic term describing a large outcropping of rock. Before Jeffers and Una purchased the land where Tor House would be built, they rented a small cottage in Carmel, and enjoyed many afternoon walks and picnics at the "tors" near the site that would become Tor House.
To build the first part of Tor House, a small, two story cottage, Jeffers hired a local builder. He worked with the builder,and in this short, informal apprenticeship, he learned the art of stonemasonry. He continued adding on to Tor House throughout his life, writing in the mornings and working on the house in the afternoon. Many of his poems reflect the influence of stone and building on his life.
He later built a large four-story stone tower on the site called Hawk Tower, based on similar structures he had seen while traveling through Ireland. Construction on Tor House continued into the late 1950s and early 1960s, and was completed by his eldest son. The completed residence was used as a family home until his descendants decided to turn it over to the Tor House Foundation, formed by Ansel Adams, for historic preservation. The romantic Gothic tower was named after a hawk that appeared while Jeffers was working on the structure, and which disappeared the day it was completed. The tower was a gift for his wife Una, who had a fascination for Irish literature and stone towers. In Una's special room at the top were kept many of her favorite items, photographs of Jeffers taken by the artist Weston, plants and dried flowers from Shelley's grave, and a rosewood melodeon which she loved to play. The tower also included a secret interior staircase – a source of great fun for his young sons.
During this time, Jeffers published volumes of long narrative blank verse that shook up the national literary scene. These poems, including Tamar and Roan Stallion, introduced Jeffers as a master of the epic form, reminiscent of ancient Greek poets. These poems were full of controversial subject matter like incest, murder and parricide. Jeffers' short verse includes "Hurt Hawks", "The Purse-Seine", and "Shine, Perishing Republic". His intense relationship with the physical world is described in often brutal and apocalyptic verse, and demonstrates a preference for the natural world over what he sees as the negative influence of civilization. Jeffers did not accept the idea that meter is a fundamental part of poetry, and, like Marianne Moore, claimed his verse was not composed in meter, but "rolling stresses". He believed meter was imposed on poetry by man, not a fundamental part of its nature.
Initially, Tamar and Other Poems received no acclaim, but when East Coast reviewers discovered the work and began to compare Jeffers to Greek tragedians, Boni & Liveright reissued an expanded edition as Roan Stallion, Tamar and Other Poems (1925). In these works, Jeffers began to articulate themes that contributed to what he later identified as Inhumanism. Mankind was too self-centered, he complained, and too indifferent to the "astonishing beauty of things". Jeffers's longest and most ambitious narrative, The Women at Point Sur (1927), startled many of his readers, heavily loaded as it was with Nietzschean philosophy. The balance of the 1920s and the early 1930s were especially productive for Jeffers, and his reputation was secure. In 1934, he made the acquaintance of the philosopher J Krishnamurti and was struck by the force of Krishnamurti's person. He wrote a poem entitled "Credo" which many feel refers to Krishnamurti. In Cawdor and Other Poems (1928), Dear Judas and Other Poems (1929), Descent to the Dead, Poems Written in Ireland and Great Britain (1931), Thurso's Landing (1932), and Give Your Heart to the Hawks (1933), Jeffers continued to explore the questions of how human beings could find their proper relationship (free of human egocentrism) with the divinity of the beauty of things. These poems, set in the Big Sur region (except Dear Judas and Descent to the Dead), enabled Jeffers to pursue his belief that the natural splendor of the area demanded tragedy: the greater the beauty, the greater the demand. As Euripides had, Jeffers began to focus more on his own characters' psychologies and on social realities than on the mythic. The human dilemmas of Phaedra, Hippolytus, and Medea fascinated him.
Many books followed Jeffers' initial success with the epic form, including an adaptation of Euripides' Medea, which became a hit Broadway play starring Dame Judith Anderson. D. H. Lawrence, Edgar Lee Masters, Benjamin De Casseres, and George Sterling were close friends of Jeffers, Sterling having the longest and most intimate relationship with him. While living in Carmel, Jeffers became the focal point for a small but devoted group of admirers. At the peak of his fame, he was one of the few poets to be featured on the cover of Time Magazine. He was also asked to read at the Library of Congress, and was posthumously put on a U.S. Stamp.
Part of the decline of Jeffers popularity was due to his staunch opposition to the United States' entering World War II. In fact, his book The Double Axe and Other Poems (1948), a volume of poems that was largely critical of U.S. policy, came with an extremely unconventional note from Random House that the views expressed by Jeffers were not those of the publishing company. Soon after, his work was received negatively by several influential literary critics. Several particularly scathing pieces were penned by Yvor Winters, as well as by Kenneth Rexroth, who had been very positive in his earlier commentary on Jeffers' work. Jeffers would publish poetry intermittently during the 1950s but his poetry never again attained the same degree of popularity that it had in the 1920s and the 1930s. Some expect a revival in Jeffers' work in the near future, especially with the 2001 publication of his collected poems by Stanford University Press and the rising popularity of ecocriticism in literary theory.
Jeffers coined the phrase inhumanism, the belief that mankind is too self-centered and too indifferent to the "astonishing beauty of things." Jeffers articulated that inhumanism symbolized humans' inability to "uncenter" themselves. In The Double Axe, Jeffers explicitly described inhumanism as "a shifting of emphasis and significance from man to notman; the rejection of human solipsism and recognition of the transhuman magnificence.... This manner of thought and feeling is neither misanthropic nor pessimist.... It offers a reasonable detachment as rule of conduct, instead of love, hate and envy.... it provides magnificence for the religious instinct, and satisfies our need to admire greatness and rejoice in beauty."
His poems have been translated into many languages and published all over the world. Outside of the United States he is most popular in Japan and the Czech Republic. William Everson, Edward Abbey, Gary Snyder, and Mark Jarman are just a few recent authors who have been influenced by Jeffers. Charles Bukowski remarked that Jeffers was his favorite poet. Polish poet Czesław Miłosz also took an interest in Jeffers' poetry and worked as a translator for several volumes of his poems. Jeffers also exchanged some letters with his Czech translator and popularizer, the poet Kamil Bednář. Writer Paul Mooney (1904–1939), son of American Indian authority James Mooney (1861–1921) and collaborator of travel writer Richard Halliburton (1900–1939), "was known always to carry with him (a volume of Jeffers) as a chewer might carry a pouch of tobacco ... and, like Jeffers," writes Gerry Max in Horizon Chasers, "worshipped nature ... (taking) refuge (from the encroachments of civilization) in a sort of chthonian mysticism rife with Greek dramatic elements ..."
Jeffers was an inspiration and friend to western U.S. photographers of the early twentieth century, including Ansel Adams, Edward Weston, and Morley Baer. In fact, the elegant book of Baer's photographs juxtaposed with Jeffers' poetry,combines the creative talents of those two residents of the Big Sur coast.
Although Jeffers has largely been marginalized in the mainstream academic community over the last thirty years, several important contemporary literary critics, including Albert Gelpi of Stanford University, and poet, critic and NEA chairman Dana Gioia, have consistently cited Jeffers as a formidable presence in modern literature.
His poem "The Beaks of Eagles" was made into a song by The Beach Boys on their album Holland (1973).
Two lines from Jeffers' poem "We Are Those People" are quoted toward the end of the 2008 film Visioneers.
Several lines from Jeffer's poem ("Death's a fierce meadowlark: but to die having made / Something more equal to the centuries / Than muscle and bone, is mostly to shed weakness." in Wise Men in Their Bad Hours)appear in Christopher McCandless diary (Sean Penn's film, Into the Wild, 2007)
Further Reading and Research
The largest collections of Jeffers' manuscripts and materials are in the Harry Ransom Humanities Research Center at the University of Texas at Austin and in the libraries at Occidental College, the University of California, and Yale University. A collection of his letters has been published as The Selected Letters of Robinson Jeffers, 1887–1962 (1968). Other books of criticism and poetry by Jeffers are: Poetry, Gongorism and a Thousand Years (1949), Themes in My Poems (1956), Robinson Jeffers: Selected Poems (1965), The Alpine Christ and Other Poems (1974), What Odd Expedients" and Other Poems (1981), and Rock and Hawk: A Selection of Shorter Poems by Robinson Jeffers (1987).
Stanford University Press recently released a five-volume collection of the complete works of Robinson Jeffers. In an article titled, "A Black Sheep Joins the Fold", written upon the release of the collection in 2001, Stanford Magazine commented that it was remarkable that, due to a number of circumstances, "there was never an authoritative, scholarly edition of California’s premier bard" until the complete works published by Stanford.
Biographical studies include George Sterling, Robinson Jeffers: The Man and the Artist (1926); Louis Adamic, Robinson Jeffers (1929); Melba Bennett, Robinson Jeffers and the Sea (1936) and The Stone Mason of Tor House (1966); Edith Greenan, Of Una Jeffers (1939); Mabel Dodge Luhan, Una and Robin (1976; written in 1933); Ward Ritchie, Jeffers: Some Recollections of Robinson Jeffers (1977); and James Karman, Robinson Jeffers: Poet of California (1987). Books about Jeffers's career include L. C. Powell, Robinson Jeffers: The Man and His Work (1940; repr. 1973); William Everson, Robinson Jeffers: Fragments of an Older Fury (1968); Arthur B. Coffin, Robinson Jeffers: Poet of Inhumanism (1971); Bill Hotchkiss, Jeffers: The Sivaistic Vision (1975); James Karman, ed., Critical Essays on Robinson Jeffers (1990); Alex Vardamis The Critical Reputation of Robinson Jeffers (1972); and Robert Zaller, ed., Centennial Essays for Robinson Jeffers (1991). The Robinson Jeffers Newsletter, ed. Robert Brophy, is a valuable scholarly resource.
In a rare recording, Jeffers can be heard reading his "The Day Is A Poem" (September 19, 1939) on Poetry Speaks – Hear Great Poets Read Their Work from Tennyson to Plath, Narrated by Charles Osgood (Sourcebooks, Inc., c2001), Disc 1, #41; including text, with Robert Hass on Robinson Jeffers, pp. 88–95. Jeffers was also on the cover of Time – The Weekly Magazine, April 4, 1932 (pictured on p. 90. Poetry Speaks).
Jeffers Studies, a journal of research on the poetry of Robinson Jeffers and related topics, is published semi-annually by the Robinson Jeffers Association.
"There is no reason for amazement: surely one always knew that cultures decay, and life's end is death" (The Purse-Seine, 1937)
"Long live freedom and damn the ideologies" (The Stars Go Over the Lonely Ocean 1940)
"Corruption never has been compulsory; when the cities lie at the monster's feet there are left the mountains" (Shine, Perishing Republic, 1941)
"I'd sooner, except the penalties, kill a man than a hawk" (Hurt Hawks, 1926)
"Death's a fierce meadowlark: but to die having made / Something more equal to the centuries / Than muscle and bone, is mostly to shed weakness." (Wise Men in Their Bad Hours)
Robinson Jeffers's Works:
Flagons and Apples. Los Angeles: Grafton, 1912.
Californians. New York: Macmillan, 1916.
Tamar and Other Poems. New York: Peter G. Boyle, 1924.
Roan Stallion, Tamar, and Other Poems. New York: Boni and Liveright, 1925.
The Women at Point Sur. New York: Liveright, 1927.
Cawdor and Other Poems. New York: Liveright, 1928.
Dear Judas and Other Poems. New York: Liveright, 1929.
Thurso's Landing and Other Poems. New York: Liveright, 1932.
Give Your Heart to the Hawks and other Poems. New York: Random House, 1933.
Solstice and Other Poems. New York: Random House, 1935.
Such Counsels You Gave To me and Other Poems. New York: Random House, 1937.
The Selected Poetry of Robinson Jeffers. New York: Random House, 1938.
Be Angry at the Sun. New York: Random House, 1941.
Medea. New York: Random House, 1946.
The Double Axe and Other Poems. New York: Random House, 1948.
Hungerfield and Other Poems. New York: Random House, 1954.
The Beginning and the End and Other Poems. New York: Random House, 1963.
Robinson Jeffers: Selected Poems. New York: Vintage, 1965.
Stones of the Sur. Stanford: Stanford University Press, 2001.
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Robinson Jeffers Poems
I had walked since dawn and lay down to rest on a bare hillside Above the ocean. I saw through half-shut eyelids a vulture wheeling high up in heaven, And presently it passed again, but lower and nearer, its orbit
I The broken pillar of the wing jags from the clotted shoulder, The wing trails like a banner in defeat,
Fire On The Hills
The deer were bounding like blown leaves Under the smoke in front the roaring wave of the brush-fire; I thought of the smaller lives that were caught. Beauty is not always lovely; the fire was beautiful, the terror
Shine, Perishing Republic
While this America settles in the mould of its vulgarity, heavily thickening to empire And protest, only a bubble in the molten mass, pops and sighs out, and the mass hardens,
Be Angry At The Sun
That public men publish falsehoods Is nothing new. That America must accept Like the historical republics corruption and empire Has been known for years.
The extraordinary patience of things! This beautiful place defaced with a crop of surburban houses- How beautiful when we first beheld it, Unbroken field of poppy and lupin walled with clean cliffs;
Ascent To The Sierras
Beyond the great valley an odd instinctive rising Begins to possess the ground, the flatness gathers to little humps and barrows, low aimless ridges,
Love The Wild Swan
"I hate my verses, every line, every word. Oh pale and brittle pencils ever to try One grass-blade's curve, or the throat of one bird That clings to twig, ruffled against white sky.
Contemplation Of The Sword
Reason will not decide at last; the sword will decide. The sword: an obsolete instrument of bronze or steel, formerly used to kill men, but here In the sense of a symbol. The sword: that is: the storms
No bitterness: our ancestors did it. They were only ignorant and hopeful, they wanted freedom but wealth too. Their children will learn to hope for a Caesar. Or rather--for we are not aquiline Romans but soft mixed colonists--
The Stars Go Over The Lonely Ocean
Unhappy about some far off things That are not my affair, wandering Along the coast and up the lean ridges, I saw in the evening
Apology For Bad Dreams
I In the purple light, heavy with redwood, the slopes drop seaward, Headlong convexities of forest, drawn in together to the
Our sardine fishermen work at night in the dark of the moon; daylight or moonlight They could not tell where to spread the net, unable to see the phosphorescence of the
Rock And Hawk
Here is a symbol in which Many high tragic thoughts Watch their own eyes.
On Building With Stone
To be an ape in little of the mountain-making mother
Like swarthy Cheops, but my own hands
For only slaves, is a far sweeter toil than to cut
Passions in verse for a sick people.
I'd liefer bed one boulder in the house-wall than be the time's
Archilochus: we name not Homer: who now
Can even imagine the fabulous dawn when bay-leaves (to a blind
Beggar) were not bitter in the teeth?