Further Reading
- Berger, Charles. "Poetry Chronicle." Raritan No. 3 (Winter 1991): 119-33. (Discusses Clampitt's work in context of Westward and calls Clampitt a formidable elegist.)
- Birkerts, Sven. "Amy Clampitt/Christopher Janecorkery." in The Electric Life: Essays on Modern Poetry, pp. 305-08. New York: Williams Morrow and Company, Inc., 1989. (Compares The Kingfisher with What the Light Was Like and says the newer collection is strong and shows a sense of wholeness though sometimes the Baroque degenerates to Rococo.)
- Kirby, David. "Life's Goofy Splendors." New York Times Book Review (23 December 1990): 16. (Discusses Clampitt's Westward collection and says there is a "ceaseless current of laughter in it reflecting an appreciation of the incongruity inherent in everything.")
- Logan, William. "The Habits of Their Habitats." Parnassus: Poetry in Review 12/13, No. 21, (1985): 463, 477-86. (Describes what he calls Clampitt's Baroque poetry as filled with a profusion of "gorgeous" details, and says that she has established herself as the supreme poet of place.)
- McClatchy, J. D. "Earthbound and Fired-Up." The New Republic 192, No. 16 (22 April 1985): 38-40. (Compares Clampitt with W.H. Auden, finding both to be subtle and complex.)
- Ramazani, Jahan. "American Family Elegy II." in Poetry of Mourning, pp. 293-333. Chicago: The University of Chicago Press, 1994. (Discusses Clampitt's mourning for her parents through poems in The Kingfisher.)
- Weisman, Karen A. "Staring Before the Actual." Criticism, Vol. 36, No. 1 (Winter 1994): 119-37. (Scholarly look at "Voyages: A Homage to John Keats" in the collection Westward which says Clampitt's romanticism is a refraction of the complex relationship of American Modernism to British Romanticism.)
Get Ahead with eNotes
Start your 48-hour free trial to access everything you need to rise to the top of the class. Enjoy expert answers and study guides ad-free and take your learning to the next level.
Already a member? Log in here.
