© Image by Maud Kinnell

Galway Kinnell

(b. 1927)

"What troubles me is a sense that so many things lovely and precious in our world seem to be dying out. Perhaps poetry will be the canary in the mine-shaft warning us of what's to come." - Galway Kinnell

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Recordings

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

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Select bibliography

  • Rene Hardy, Bitter Victory (translator), New York, New American Library, 1956 - out of print
  • What a Kingdom It Was, Boston, Houghton Mifflin Co., 1960
  • Flower Herding on Mount Monadnock, Houghton Mifflin Co., 1964
  • The Poems of Francois Villon (translator), Houghton Mifflin Co., 1965
  • Yves Bonnefoy, On the Motion and Immobility of Douve (translator), Ohio, University of Ohio Press, 1968 (new ed. Bloodaxe 1992)
  • Body Rags, Houghton Mifflin Co., 1968
  • Yvan Goll, Lackawanna Elegy (translator), Fremont, Michigan, Sumac Press, 1970 - out of print
  • First Poems 1946-1954, Houghton Mifflin Co., 1971
  • The Book of Nightmares, Houghton Mifflin Co., 1971
  • The Avenue Bearing the Initial of Christ into the New World: Poems 1946-64, Houghton Mifflin Co., 1974
  • Walking Down the Stairs (interviews), Michigan, University of Michigan Press, 1978
  • Mortal Acts, Mortal Words, Houghton Mifflin Co., 1980
  • Selected Poems, Houghton Mifflin Co., 1982 - out of print
  • The Past, Houghton Mifflin Co., 1985
  • When One Has Lived a Long Time Alone, New York, Alfred A. Knopf, Inc., 1990
  • Three Books, Houghton Mifflin Co., 1993
  • Yves Bonnefoy, Early Poems 1947-59 (translator), Ohio University Press, 1993
  • Imperfect Thirst, Houghton Mifflin Co., 1994
  • The Essential Rilke (translator with Hannah Liebmann), New York, Harper Collins, 1999
  • A New Selected Poems, Houghton Mifflin Co., 2000
  • Selected Poems Bloodaxe, 2001
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  • Galway Kinnell Reading from his poems, CD, The Poetry Archive, 2005
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  • Strong Is Your Hold Bloodaxe Books Ltd, 2007
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  • In Person 30 Poets, Edited by Neil Astley / Films by Pamela Robertson-Pearce, Bloodaxe Books 2008
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Galway Kinnell (b. 1927) grew up in Pawtucket, Rhode Island and was educated at Princeton and Rochester University. He joined in the radical political movements of the 1960s, working for the Congress on Racial Equality and protesting against the Vietnam War. Socio-political issues have remained an important element in Kinnell's poetry, but have always been combined with an underlying sacramental quality. Initially this was expressed through the traditional Christian sensibility of his first collection, What a Kingdom It Was, but later work has moved away from religious orthodoxy into a poetry which "burrows fiercely into the self . . ." (Richard Gray). The first edition of his Selected Poems (1980) won both the Pulitzer Prize and the National Book Award. Kinnell has taught poetry and creative writing for many years and in many places, including France, Iran, and Australia.

Kinnell has said "if you could keep going deeper and deeper, you'd finally not be a person . . . you'd be a blade of grass or ultimately perhaps a stone." It is this search for the essential that marks out Kinnell's poetic territory: like the bear of one of his most celebrated poems, he digs in for the winter. This desire to feel a oneness with the universe is beautifully expressed here in the closing lines of 'The Seekonk Woods' where Kinnell describes himself lying on his back, staring up at the stars as he tries to escape the pressure of time, to lose himself in the present and "attain/ a moment of absolute ignorance". This search for the spiritual begins with the flesh - touch is a central sense in his poetry, form St. Francis' gentle blessing of the sow in one of his most famous poems, to the awkward/ graceful dance of a daughter leading her elderly father in 'Parkinson's Disease'. The poems imply that we begin to know and respect our place in the world through the skin: this makes Kinnell a devout poet, honouring the earth and all the creatures, including the human ones, which share its surface. He is drawn to writing about the moments when our most basic nature is revealed, in birth, sex and death, as in his celebrated poems of physical union, 'After Making Love We Hear Footsteps' and 'Rapture'. There is anger at human destructiveness, and he writes of a desire to escape, as in his sequence 'When One Has Lived a Long Time Alone', but this is tempered with a tremendous tenderness, particularly evident in the poems for his young son and daughter.

For all the plain grandeur of his language with its Biblical cadences, Kinnell is not a remote figure. The deep resonance of his voice brings out both the wisdom and intimacy of his poems, as embodied in the closing lines of 'Lastness', a section of his long poem, The Book of Nightmares, where he bends over his newly born son: "and smelled/the black, glistening fur/of his head, as empty space/must have bent over the newborn planet. . .".

'Blackberry Eating', 'Oatmeal' and 'First Song' come from a recording made for The Poetry Archive on 11 July 2005 at The Audio Workshop, London, produced by Richard Carrington. The remaining poems come from a recording made for The Poetry Foundation on 19 September 2007 in New York.

Prizes

1982 Pulitzer Prize, Selected Poems
Website

1982 National Book Award, Selected Poems
Website

2000 National Book Award (shortlist), New Selected Poems
Website

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