Howard Nemerov 1920–1991
American poet, critic, novelist, short story writer, nonfiction writer, essayist, editor, and playwright.
Nemerov is known for a diverse body of poetry that has been praised for its technical excellence, intelligence, and wit. Writing verse in a variety of forms and styles—including lyrical, narrative, and meditative—Nemerov examined religious, philosophical, scientific, and existential concerns. Although Nemerov frequently has been labeled an academic poet because of his detached stance, his firm grounding in formal verse, and the moralistic tone of some of his work, he often incorporated irony, satire, and colloquial language into his works. In addition to winning numerous prizes for his verse, including the Pulitzer Prize and the National Book Award for The Collected Poems of Howard Nemerov (1977), Nemerov was appointed poet laureate of the United States in 1988.
Nemerov was born in New York City, where his father was president and chairman of the board of an exclusive clothing store. After graduating in 1937 from the elite Fieldston School in New York, Nemerov earned his bachelor's degree from Harvard University in 1941. Nemerov served in the Royal Canadian Air Force from 1941 to 1944 and in the U.S. Army Air Force from 1944 to 1945. He later incorporated his war experiences into such poetry collections as Guide to the Ruins (1950) and War Stories (1987). After World War II, Nemerov returned to New York and published his first poetry collection, The Image and the Law, in 1947. He worked as assistant editor of the irreverent magazine Furioso from 1946 to 1951 and was appointed consultant of poetry to the Library of Congress in 1963. During his academic career, Nemerov taught at such colleges as Brandeis University, Washington University, and Bennington College. At Bennington, he met such notable literary figures as Kenneth Burke, Bernard Malamud, and Stanley Edgar Hyman. Nemerov died in 1991 in St. Louis, Missouri, of cancer of the esophagus.
In The Image and the Law Nemerov utilized a variety of poetic forms and introduced themes that would recur in his subsequent collections, including war, urban blight, art, death, and religion. The poems in this volume, the title of which reflects Nemerov's examination of the dichotomy between what he called "the poetry of the eye"
and "the poetry of the mind," are often pessimistic in outlook. "The Situation Does Not Change," for example, contains a description of New York City: "Only the dead have an enduring city, / Whose stone saints look coldly on a cold world." In the war poem "For W——, Who Commanded Well," which centers on a military officer who served in World War II, Nemerov wrote: "Money is being made, and the wheels go round, / And death is paying for itself." Guide to the Ruins, which also contains a variety of poetic forms, including sonnets, epigrams, and ballads, addresses similar concerns, particularly World War II and "the ruins" of post-war life. For example, in "Redeployment," Nemerov proclaimed: "They say the war is over. But water still / Comes bloody from the taps."
The Salt Garden (1955) marks a shift in the tone, style, and themes of Nemerov's poetry. Although his earlier poems were often abstract, esoteric, formal, and derivative of the works of such poets as T. S. Eliot, W. H. Auden, and Wallace Stevens, the poems in this volume are less rigid, impersonal, and bitter; they explore such subjects as perception, nature, and the duality of man. With this volume, Nemerov reached what many critics consider his poetic maturity; The Salt Garden was also the first verse collection to bring Nemerov widespread critical and popular attention. Mirrors and Windows (1958), which won the Blumenthal Prize from Poetry magazine, reveals Nemerov's increasing confidence as a poet. In addition to addressing the limits of perception and the boundaries between the inner and outer worlds, many of the poems in this volume examine the nature of poetry writing, including the difficulty of capturing reality in verse. In "A Day on the Big Branch," for example, Nemerov provided an ironic look at himself and his literary and academic contemporaries. In The Next Room of the Dream (1962), which contains two verse plays devoted to biblical themes, Nemerov simplified his poetic approach, emphasizing description, observation, and direct language over abstract philosophical concerns. The Blue Swallows (1967) is considered another turning point in Nemerov's career. In this volume, which won the Theodore Roethke Memorial Prize, Nemerov was less pessimistic than in earlier collections and used more short-lined poems in keeping with his trend toward simplicity. The Blue Swallows also evinces Nemerov's continuing concern with nature and his increasing interest in science and technology. In The Western Approaches (1975) Nemerov returned to the more formal metaphors and conceits of his earlier works. The poems in this collection, most of which are short lyrics, are divided into three sections: "The Way" contains ironic poems about modern life, "The Mind" includes verse about art and culture, and "The Ground" focuses on nature. War Stories draws on Nemerov's war experiences and addresses illusions and misconceptions about war and military life. In the poem "The War in the Air," for example, Nemerov declared, "That was the good war, the war we won / As if there were no death, for goodness' sake."
Critical reaction to Nemerov's verse has been as diverse as his poetic oeuvre. Scholars have consistently praised his technical mastery of various verse forms and the diversity of his subject matter; James Billington, at the time of Nemerov's appointment to U.S. poet laureate, stated that Nemerov's subject matter ranges from "the profound to the poignant to the comic." Joyce Carol Oates has also emphasized the diversity of Nemerov's works, writing that as "romantic, realist, comedian, satirist, relentless and indefatigable brooder upon the most ancient mysteries—Nemerov is not to be classified." Critics have also lauded his emphasis of philosophical themes, particularly his examination of individual consciousness and how it is affected by the external world. However, Nemerov has also been decried as an academic poet because of the difficulty of his verse. Similarly, his works have been called self-indulgent, cocky, obscure, and overly pessimistic. Nemerov's use of humor has also been called into question, with some stating that it sometimes descends into mere wittiness or sarcasm. Others, however, have observed that Nemerov's humor provides a counterbalance to the urbanity and intellectual weight of his poems. Despite mixed reaction to his poetry and a lack of what some consider serious scholarly study of his work, many critics have applauded Nemerov's ability to address contemporary concerns, including the dichotomy between inner and outer life, the isolation of the individual, and the limits of language, in a way that is relevant, compassionate, and thought provoking. Ross Labrie has observed: "No modern writer has more eloquently traced the subtle emanations of consciousness and its shadowy journeying through the fine membrane of language out into the strangeness of the external world."
The Image and the Law 1947
Guide to the Ruins 1950
The Salt Garden 1955
Mirrors and Windows 1958
New and Selected Poems 1960
The Next Room of the Dream: Poems and Two Plays 1962
The Blue Swallows 1967
The Painter Dreaming in the Scholar's House 1968
The Winter Lightning: Selected Poems 1968
Gnomes and Occasions 1973
The Western Approaches: Poems, 1973-1975 1975
The Collected Poems of Howard Nemerov 1977
By Al Lebowitz's Pool 1979
Inside the Onion 1984
War Stories: Poems about Long Ago and Now 1987
Trying Conclusions: New and Selected Poems, 1961-1991 1991
Other Major Works
The Melodramatists (novel) 1949
Federigo: Or the Power of Love (novel) 1954
The Homecoming Game (novel) 1957
A Commodity of Dreams and Other Stories (short stories) 1959
Endor: Drama in One Act (drama) 1961
Poetry and Fiction: Essays (nonfiction) 1963
Journal of the Fictive Life (autobiography) 1965
Stories, Fables, and Other Diversions (short stories) 1971
Reflexions on Poetry and Poetics (essays) 1972
Figures of Thought: Speculations on the Meaning of Poetry and Other Essays (nonfiction) 1978
New and Selected Essays (nonfiction) 1985
The Oak in the Acorn: On Remembrance of Things Past and Teaching Proust, Who Will Never Learn (nonfiction) 1987
A Howard Nemerov Reader (collected works) 1991
SOURCE: "Question of Strategy," in Poetry (Chicago), Vol. LXXI, No. 11, November, 1947, pp. 94-7.
[In the following mixed review of The Image and the Law, Golffing questions the dichotomy between images and ideas in the volume.]
Mr. Nemerov tells us—on the dust-jacket [of The Image and the Law], of all places—that he dichotomizes the "poetry of the eye" and the "poetry of the mind," and that he attempts to exhibit in his verse the "ever-present dispute between two ways of looking at the world." Though usually skeptical of programmatic statements, I find this particular one quite serviceable as a clue—a "way in"—to the plexus of Nemerov's poetry....
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SOURCE: A review of Guide to the Ruins, in Poetry (Chicago), Vol. LXXVI, No. VI, September, 1950, pp. 365-70.
[In the excerpt below, Shulenberger provides a mixed review of Guide to the Ruins, commenting on Nemerov's poetic style and the influence of Ezra Pound and William Shakespeare on his works.]
Among the forty poems in Mr. Nemerov's second book [Guide to the Ruins] there are several kinds: epigram, song, sonnet, fragment, and brief essay. They are written in formal or near-formal verse, and are concerned chiefly with the contemporary scene, "the ruins" of a post-war world. In the absence of many positive qualities, their striking...
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SOURCE: "Nemerov: The Middle of the Journey," in Poetry (Chicago), Vol. XCIII, No. 3, December, 1958, pp. 178-81.
[In the generally positive review of Mirrors and Windows below, Kizer praises the intelligence, daring, and maturity of Nemerov's poetry, but states that some of the poems in the volume are too long.]
With this book [Mirrors and Windows: Poems], his fourth, Howard Nemerov now belongs to that group of poets who are most difficult to review. To express joy in the accomplished poems, yet receive them ungraciously! For, alas, the homage a serious reviewer pays to a serious poet is a vigorous appraisal. Still, the poems must be handled with care,...
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SOURCE: "Outside Faction," in The Yale Review, Vol. 1, No. 4, June, 1961, pp. 585-96.
[In the following excerpt, Gunn offers a laudatory review of New and Selected Poems and discusses Nemerov's place in contemporary American poetry.]
Poetic theory in America is at present in an extremely curious state, resembling that of England during the Barons' Wars rather than that of a healthy democracy or wellrun autocracy. It is not even a decent civil war, tradition alist against modernist. At one extreme, it is true, there are the academic-suburban poets who aim so low that it is difficult to see why they bother to aim at all; at the other there are the remnants of the...
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SOURCE: "Interim Report," in Poetry (Chicago), Vol. CII, No. 6, September, 1963, pp. 389-90.
[Below, Carruth calls most of the poems in The Next Room of the Dream "wisecracks " and discusses what he considers Nemerov's "technicalfailures."]
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SOURCE: "Twenty Years of Accomplishment," in The Critical Reception of Howard Nemerov: A Selection of Essays and a Bibliography, edited by Bowie Duncan, The Scarecrow Press, 1971, pp. 29-39.
[In the following essay, which was originally written on the occasion of the publication of The Blue Swallows and published in Florida Quarterly in October 1968, Meinke examines the first twenty years of Nemerov's poetic career, stating "more than any other contemporary poet, Nemerov speaks to the existential, science-oriented … liberal mind of the 20th century."]
It's a bad word, perhaps, but Howard Nemerov is really a philosopher. And judging from the scant space...
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SOURCE: "Such Stuff as Dreams: The Poetry of Howard Nemerov," in Imagination and the Spirit: Essays in Literature and the Christian Faith Presented to Clyde S. Kilby, edited by Charles A. Huttar, William B. Eerdmans Publishing Company, 1971, pp. 365-85.
[In the following essay, Olsen provides a stylistic and thematic overview of Nemerov's poetry, focusing on the unifying elements in his works.]
The serious and the funny are one. The purpose of Poetry is to persuade, fool, or compel God into speaking.
—Howard Nemerov, in a letter to Robert D. Harvey.
The poetry of Howard Nemerov is...
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SOURCE: An interview with Howard Nemerov, in Salmagundi, Nos. 31-32, Fall, 1975/Winter, 1976, pp. 109-19.
[In the following interview, which was conducted in March 1975, Nemerov discusses such topics as his composition process, the relationship between poetry and meaning, politics, and the influence of other writers on his works.]
[Robert Boyers] : In the past year or so, Howard, you 've written a great many poems, by any standards more than most poets expect to write in several years. Is there any way you can explain to yourself, or anyone else, how this came to be?
[Howard Nemerov]: Well, I'd settled down thinking to myself, listen, you're 54...
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SOURCE: "The Urban Landscape," in The Stillness in Moving Things: The World of Howard Nemerov, Memphis State University Press, 1975, pp. 119-42.
[In the following essay, Mills states that Nemerov's poetry of the urban landscape "concentrates on the most powerful institutions of society" and "is particularly concerned with the tyranny of the past over the present."]
Nemerov's poetry divides itself between contemplative poetry, which most often springs from his encounter with nature, and satiric poetry that finds its nourishment in disparities and paradoxes that reveal themselves in the urban scene. To say that the poetry is divided in subject matter and concern is not,...
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SOURCE: "Saying the Life of Things," in American Poetry Review, Vol. 5, No. 1, January/February, 1976, pp. 46-7.
[In the positive review of The Western Approaches below, Randall compares Nemerov to English poet William Wordsworth.]
If you really want to see something, look at something else. If you want to say what something is, inspect something that it isn't. It might go further, and worse, than that: if you want to see the invisible world, look at the visible one.
—[Howard Nemerov], "On Metaphor," Reflexions on Poetry & Poetics
If you really want to see Howard Nemerov,...
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SOURCE: A review of The Western Approaches: Poems 1973-75, in The Yale Review, March, 1976, pp. 425-42.
[In the excerpt below, Howard praises The Western Approaches, calling it Nemerov's "wisest" book.]
Three years ago, when [Nemerov] published Gnomes and Occasions, even the vivid and lovable poems in that book were spiked and spooked by so many sour epigrams and put-downs of Others that it seemed Howard Nemerov must have forgotten Marianne Moore's hard truth: there never was a war that was not inward. Were all the enemies out there, one wondered, could none of the problems be played closer to the chest, even the medicine chest, than so much...
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SOURCE: "Death and the Poet," in The New Criterion, Vol. 6, No. 5, January, 1988, pp. 72-7.
[In the following review of War Stories, Richman discusses existential themes in Nemerov's poetry as a whole.]
"They say the war is over," writes Howard Nemerov in "Redeployment," one of his most memorable early poems. "But water still / Comes bloody from the taps." Today, thirty-seven years after writing these lines, Nemerov's whole outlook on life is still haunted by the memory of war. This is the impression one has from Nemerov's new book, War Stories: Poems about Long Ago and Now. Nearly a third of the poems in this volume have their source in the poet's...
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SOURCE: "Howard Nemerov and the Tyranny of Shakespeare," in Centennial Review, Vol. XXXII, No. 2, Spring, 1988, pp. 130-49.
[In the essay below, Jensen examines the influence of William Shakespeare on Nemerov's verse, stating that Shakespeare is "the guide and genius of [Nemerov's] poetic achievement. "]
John Lehmann, writing in his autobiography, claimed for Shakespeare the greatest intellectual and creative sovereignty over the minds and feelings of both the writers who followed him and all those whose literary inheritance derives from the English tradition. Shakespeare, he declared,
was the key to the whole of English literature,...
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SOURCE: '"Between the Wave and the Particle': Figuring Science in Howard Nemerov's Poems," in Mosaic, Vol. 23, No. 4, Fall, 1990, pp. 37-50.
[In the review below, Clark examines Nemerov's incorporation of science and technology into his works.]
As reader, namer, knower, skeptic, Howard Nemerov has had a long and productive engagement with the material world and with the sciences which explore its laws, its oddities. His work alludes often to scientific and semi-scientific writing from Euclid to Einstein; his many, diverse sources include Goethe, Godei, Eddington, Sherrington, Freud, Whitehead, Russell; Herbert Muller, Scott Buchanan, Owen Barfield and Lewis Thomas....
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