© Image by James Hamilton

J D McClatchy

(b. 1945)

"Love is injustice, said Camus./We want to be loved. What's still more true?" - 'The Ledger', J. D. McClatchy

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These poems come from a special recording for the Poetry Archive:

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Select bibliography

  • Anne Sexton: the artist and her critics (editor), Bloomington, Indiana University Press, 1978
  • Scenes From Another Life, New York, George Braziller, 1981 - out of print
  • Scenes From Another Life, London, Secker & Warburg, 1983 - out of print
  • Stars Principal, London, Macmillan, 1986 - out of print
  • Poets on Painters: essays on the art of painting by twentieth century poets (editor), Berkeley, University of California, 1988
  • White Paper on contemporary American poetry, New York, Columbia University Press, 1989
  • The Rest of the Way, New York, Knopf, 1990
  • The Vintage Book of Contemporary American Poetry (editor), New York, Vintage Books, 1990; 2nd ed., 2003
  • The Vintage Book of Contemporary World Poetry, Vintage Books, 1996
  • Ten Commandments, Knopf, 1998
  • Twenty Questions (posed by poems), New York and Chichester, Columbia University Press, 1998
  • Poems of the Sea (editor), London, Everyman, 2001
  • Hazmat, Knopf, 2002
  • Horace: the Odes - new translations by contemporary poets (editor), Princeton, New Jersey and Oxford, Princeton University Press, 2002
  • James Merrill, Collected Poems (editor), Knopf, 2002
  • Division of Spoils: Selected Poems, Todmorden, Lancashire, Arc Publications, 2003
  • Edna St. Vincent Millay, Selected Poems (editor), New York, Library of America, 2003
  • American Writers at Home (essays), The Vendome Press in Association with the Library of America, 2004
  • Poets of the Civil War (editor), Library of America, 2005
  • J D McClatchy Reading from his poems, The Poetry Archive, 2005
J D McClatchy (b. 1945) is one of America's foremost poet-critics. His five collections of poetry, including the Pulitzer Prize-shortlisted Hazmat, are widely acclaimed for their formal ingenuity, coupled with their fluency of thought and feeling. He has edited The Vintage Book of Contemporary World Poetry and an edition of contemporary American poetry for the same publisher. His extensive writing on poets such as Anne Sexton, James Merrill and Elizabeth Bishop has been collected in White Paper and Twenty Questions and made him the natural choice to edit an important series of audiobooks for Random House, The Voice of the Poet, featuring archival recordings of famous American poets. He is also an accomplished opera librettist whose work has been performed in opera houses around the world including the Metropolitan Opera, La Scala and Covent Garden. McClatchy has served as Chancellor of the Academy of American Poets and is currently Professor of English at Yale where he edits The Yale Review.

McClatchy's formal skill, what has been described as his "civil tongue" (San Francisco Chronicle) imparts an unruffled surface to his work. The fluid syntax of longer narrative pieces such as 'Er' or 'A View of the Sea' is complex but controlled, whilst the tighter constraints of his sonnets, such as the sequence 'My Mammogram', do nothing to dispel the impression of ease. Beneath this classical poise, however, there are disturbing depths as McClatchy examines the damage people inflict on one another in the name of love. Often in these poems it seems that love and pain are inseparable, that human relationships are no better than the coupling of the feral cats in 'The Rented House'. The risk inherent in being a living, feeling person finds disturbing expression in the image of the plant in 'The Agave', the terrible thorns of which sometimes grow so distorted they pierce its own leaves. No wonder that in 'Er' the souls of the dead ask to come back as birds and animals, but though the narrator of this poem is re-born as a warbler, McClatchy himself stays loyal in his poems to "Those humans who shout and slash and smell of flesh."

In this recording McClatchy's calm reading style and his dark-timbred voice realise the tension in his work: how thought and feeling, disciplined by form, can be dangerous, like a gas kept under pressure.

These poems come from a special recording made for The Poetry Archive on 5 May 2005 at The Audio Workshop, London. Producer: Richard Carrington.


1987 Guggenheim Foundation Fellowship

1991 Fellowship from the Academy of American Poets

1996 Appointed a Chancellor of the Academy of American Poets

1998 Elected Fellow of the American Academy of Arts and Sciences

1999 Fellow of the American Academy of Arts and Letters

2000 Connecticut Governor's Arts Award

2002 Pulitzer Prize (shortlist), Hazmat

2003 Appointed to Board of Directors of the Academy of American Poets

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