Howard Nemerov, a distinct voice in American poetry, consistently explored the absurdities of human existence within the grand narrative of time. His work reflects a divided temperament, striving to merge opposing elements of his character as both a poet and a fiction writer. Engaging with themes of modern existential fragmentation, Nemerov's poetry is characterized by a blend of satire, wit, and a keen respect for literary form, positioning him as a Renaissance man and a twentieth-century existentialist.

The Dual Nature of Existence

Nemerov’s poetry intricately weaves together the concept of the absurdity of humankind in the universe. Despite his inclination towards an empirical acceptance of objective reality, he harbored a subjective, poetic self that sought divine truth. This duality manifests in his persistent grappling with spiritual questions, leading to an existential inquiry that refused to subscribe to any specific orthodoxy, be it religious or artistic.

Early Works: The Image and the Law and Guide to the Ruins

Nemerov's early poetry collections, The Image and the Law, Guide to the Ruins, and The Salt Garden, chart his evolution from a derivative writer to a distinctive poetic voice. In The Image and the Law, he explores a dual vision of “poetry of the eye” and “poetry of the mind,” highlighting the ever-present tension between different worldviews. Critics initially noted a lack of unity and originality, attributing his style to influences like T. S. Eliot and W. H. Auden.

In Guide to the Ruins, Nemerov’s work broadens in scope and depth, capturing a post-war societal disillusionment. The collection reflects his internal conflict between art-faith and science-reality, a tension that often results in a Dostoevskian religious agony. A recurring theme is the unification of war and religion into a pessimistic yet life-affirming vision, highlighting a paradoxical celebration of existence amidst destruction.

The Salt Garden: Finding a Voice

With The Salt Garden, Nemerov began to assert his unique voice, focusing on the interplay between brutal nature and decent humanity. Nature serves as a backdrop against which human morality is tested, with water and blood acting as metaphors for the subconscious's call to wildness. The poems range from reflections on civilized life to the exploration of Freudian nightmares, presenting a vivid contrast between the civilized and the wild.

The imagery of liquids, particularly the ocean and blood, symbolizes the transient nature of life, echoing biblical themes. According to Julia Bartholomay, Nemerov’s perspective aligns with a biblical view where water is a sanctifying force, bringing renewal amidst decay.

Mirrors and Windows: Nature as a Reflection

Nemerov’s later collections, such as Mirrors and Windows and The Blue Swallows, continue to explore nature's objective reality. Like Robert Frost, Nemerov does not merely describe nature but infuses his observations with philosophical reflections. His poetry serves as a frame that contains life’s beauty and terror, without necessarily offering explanations for life's ultimate questions.

The Next Room of the Dream: Seeking Human Truths

In The Next Room of the Dream, which includes poems and verse plays like Cain and Endor, Nemerov pursues the “great primary human drama.” These works explore biblical themes to express a humanitarian vision and an ongoing search for truth. However, the plays provide no spiritual resolution, reflecting the emptiness of contemporary beliefs.

“Nothing Will Yield,” a poem from this collection, encapsulates Nemerov’s view on human helplessness against reality, suggesting that art doesn’t resolve despair but allows poets to speak a "holy language." As Nemerov’s style evolved, his later works grew simpler and more compassionate.

The Blue Swallows: Minimal Affirmation

Twenty years after his first collection, The Blue Swallows reflects...