Kenneth Rexroth was an innovative modernist poet deeply rooted in diverse cultural traditions, ranging from Judeo-Christian to Chinese and Japanese, as well as classical Greek and Roman influences. His poetry is a rich tapestry woven with elements of mystical love, universal responsibility, and spiritual realization, all expressed through a stylistic variety that spans cubist innovations to the simplicity of Eastern poetry. This synthesis of form and substance is evident in both his shorter and longer works, revealing a profound engagement with philosophical and mystical themes.

The Rich Tapestry of Shorter Poems

The Collected Shorter Poems encapsulates Rexroth’s diverse stylistic explorations over four decades. Poems such as “Andromeda Chained to the Rock the Great Nebula in Her Heart” showcase his cubist style, resonating with the works of Gertrude Stein and Louis Zukofsky, while also drawing on African and Native American influences. In contrast, “We Come Back” exemplifies his ability to capture love and nature with a direct and sincere lyricism. In his fierce intellectual satires like “Last Visit to the Swimming Pool Soviets,” Rexroth critiques superficial engagements with leftist politics, while prophetic works such as “From the Paris Commune to the Kronstadt Rebellion” delve into themes of revolutionary heroism and defeat.

Rexroth’s poem “Yin and Yang” is an exquisite liturgical exploration of natural cycles, blending mythological imagery and rhythmic balance to present a vision of renewal and harmony. The poem’s meticulous structure, primarily composed of nine-syllable lines, underscores its prophetic tone. Similarly, “When We with Sappho” merges personal history with lyrical beauty, as Rexroth reflects on his artistic awakening and the ephemeral union of love.

In “A Letter to William Carlos Williams,” Rexroth explores poetry as a living conversation, likening Williams to figures such as Saint Francis and Brother Juniper. This intimate tone celebrates the stillness in Williams’s poetry and imagines a future where poetic creativity fosters communal relationships. Meanwhile, Rexroth’s potent protest poem “Thou Shalt Not Kill” mourns the loss of poetic vision amidst the violence and depersonalization of the modern age, calling out those complicit in such destruction.

Exploring the Longer Works

The Collected Longer Poems offers a comprehensive look at Rexroth’s spiritual and artistic evolution. The introduction to The Phoenix and the Tortoise outlines his journey from despair to a sense of universal responsibility. In The Homestead Called Damascus, Rexroth uses loose syllabic verse to explore themes of skepticism and mysticism through the characters of Thomas and Sebastian. The poem is rich in hallucinatory imagery and metaphysical inquiry, despite some obscurity in character and theme.

Rexroth’s second long poem, A Prolegomenon to a Theodicy, seeks transcendent perfection through a cubist lens, journeying through a Dantean Hell to reach a vision of the Apocalypse. The Phoenix and the Tortoise further develops Rexroth’s religious and ecological perspectives, critiquing wartime injustices while finding value in personal love. The poem’s clarity and directness convey a profound faith in life’s possibilities.

Postwar Reflections and Mystical Realizations

In The Dragon and the Unicorn, Rexroth embarks on a postwar journey across the United States and Europe, seeking the roots of responsibility and love amidst the backdrop of war’s devastation. He condemns oppressive institutions while celebrating the enduring power of love and community. The final poem in the collection, The Heart’s Garden, the Garden’s Heart, is a triumphant communion with the dao in Japan, blending Asian poetry and Buddhist wisdom into a luminous meditation on existence. This masterpiece culminates in passages of profound illumination, where Rexroth finds harmony in the music of actuality.

Asian Influences and Translations

Rexroth’s later works intensify his engagement with Asian influences, notably through translations of Chinese and...