Sands of the Well (Magill Book Reviews)
Levertov’s career has been marked by moral vision and political courage, a remarkable balancing of “everyday” life, mystical insight, and political utterance. These characteristic themes are maintained in SANDS OF THE WELL, as is her ability to find and express the epiphanic moment of perception or spiritual uplift. The special notes of Levertov’s later years, notes that include the embrace of the Pacific Northwest and of a more conventional religiosity, are played with stunning expertise.
SANDS OF THE WELL is divided into eight sections. Several sections contain nature poems, ranging from poems of description to poems of identification. Levertov insists on a correspondency of nature within and without the human agent. The title of the second section, “Sojourns in the Parallel World,” underscores this concern. Other sections gather poems about memory and music.
Section VII, “A South Wind,” focuses more intensely on the unity of man and nature, on how a certain type of looking is finally a state of being and becoming. Here, also, Levertov meditates (if brief lyrics can be meditations) on the sacred gift of language. While religious imagery and sentiments color “A South Wind,” a more particularized evocation of Christian faith links the poems in the book’s last section “Close to a Lake.” These devotional poems, placed where they are, suggest Levertov’s pilgrimage from wonder to worship. She remakes the language of...
(The entire section is 306 words.)
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Sands of the Well (Magill's Literary Annual 1991-2005)
In “Revolutionary Love: Denise Levertov and the Poetics of Politics,” Sandra M. Gilbert describes Levertov as “a poet who trusts that a thread of potential joy is woven into every inch of the fabric that constitutes daily reality” (Conversant Essays: Contemporary Poets on Poetry, edited by James McCorkle, 1990). She is, and has always been, a poet of affirmation who wonders at the human ability to risk that joy, to undermine its potential, through corrupting political action and environmental inaction. In an earlier age, she might have been one of the “Fireside Poets,” so confidently does she combine aesthetic and ethical dimensions in her work. In her own time, she is one of a handful of major poets whose careers have been marked by moral vision and political courage. In this regard, her writings belong in the company of William Everson, Robert Bly, and Robert Lowell, whose great-grandfather James Russell Lowell was one of those very “Fireside Poets” from whose pen a satiric brand of political poetry flowed. In terms of a mystical element in her poems, Levertov herself has noted affinities with the work of Robert Duncan and Robert Creeley.
Born in England and educated at home by her Welsh mother and a Russian-Jewish father (who later became an Anglican clergyman and biblical scholar), Levertov married an American and came to the United States in 1948. Her first collection, The Double Image, was published in 1946, and her...
(The entire section is 1905 words.)