Pastan, Linda (Olenik)
Linda (Olenik) Pastan 1932–
Since the publication of her first collection of poetry, A Perfect Circle of Sun, in 1971, Pastan has evidenced a gift for expressing the everyday events of human life in a compelling manner. The poet considers this "dailiness" to be the soul of her work. She writes of the complications of family relationships in Aspects of Eve (1975), the acceptance of loss in The Five Stages of Grief (1978), and the conflicts of desire and obligation in Waiting for My Life (1982).
Pastan has been praised for her clear, unpretentious writing. Such writing, critics feel, effectively persuades the reader to look closely at the commonplace and to see its wonder. Because of her spare style and domestic subject matter, however, Pastan's critics have also noted that, at times, her poems are saved from sentimentality only by their disarming, yet dignified innocence. She uses traditional topics such as love, aging, loss, loneliness, and the search for identity, and pairs them with established allusions from folktales, legends, and biblical stories.
(See also Contemporary Authors, Vols. 61-64 and Dictionary of Literary Biography, Vol. 5.)
The individual poems in "A Perfect Circle of Sun" fit so nicely into the total work and complement one another so successfully that it is easy to believe that Linda Pastan had conceived a book rather than single poems. Her concerns are uniform: the ties of family that bind three generations, a received heritage that she would not willingly let slip, the love of man and woman, a commodity that remains a wonder to her. Her lyrics are short, clear and neatly bitten off at the end. No loose threads show and neither does the joinery.
"Second Son," in spite of its fierce metaphors, is a tender tribute to the very young child. "Notes From the Delivery Room" takes a wry look at herself at a moment when she is supremely womanly and supremely vulnerable. In "Skylight," a circumscribed view of the poet's surroundings is used as the light-attracting mirror of a telescope, to bring distances into small compasses. "At the Jewish Museum" is more than homage to her ancestors. It emphasizes the obligations the older generation imposed….
She has an image-making power. Time and again the appropriate comparison comes to hand with ease when summoned…. If I have a complaint it is that the past is too contained, the poetry understated. I can sense the strength of her feelings, but she doesn't transmit it or, perhaps I should say, transmits it too easily.
Thomas Lask, "Voices from the Distaff Side," in The New York Times (© 1972 by The New York Times Company; reprinted by permission), August 18, 1972, p. 29.∗
Linda Pastan has pursued her craft assiduously and her work will be favorably received by many who accept her inhibited tragic or pathetic attitude in which she fights for life by coddling herself and being deprived. Quite typically, in "View" [in A Perfect Circle of Sun] Pastan complains of a boy playing basketball under a tree she uses for poetic perceptions. Although the poem ends in a lively fashion … she basically wishes that her vision not be disturbed by life since she does not greet the disturbance with welcome or wonder, even if she does finally take it in….
A Perfect Circle of Sun only invites the reader to look into it as into an easter egg with mise en scène—rather stark with no frosting—to admire the finesse and complexity of its small tableaux. The reader can only observe, cannot identify or participate, cannot be swept into a new angle or energy. Pastan's poems just go on being themselves in a hard shelled way. She does not often see or fight for life as sharing, exchanges, transfusions, but, as in "Early Walk," sees it as eternal, if not hopeless, cold division. (p. 130)
There is virtue in Pastan's surefooted acceptance of life, as there is in her smooth technique—but at a cost. She never loses clarity and control; she miniaturizes and cuts off or pares down life, excluding its hazy, rough margins, confusions, and passions. She seems to have given up or in and serves up her poems as dull duck à l'orange neatly arranged under glass. (p. 131)
Yet Pastan has a toughness I like. My favorite poem in A Perfect Circle of Sun is "Emily Dickinson" because in it she goes straight out on a limb of admiration and doesn't have to break the limb or double back on it to some frozen balance or tepid impasse…. Pastan has an easy, strong, and direct rhythm; and a gift of observation … and sharp images…. I would like to see more of that boldness in Linda Pastan's work, and a reaching for a new air of expectation…. (pp. 131-32)
Janet Bloom, "A Plea for Proper Boldness," in Parnassus: Poetry in Review (copyright © Poetry in Review Foundation), Vol. 1, No. 1, Fall-Winter, 1972, pp. 130-34.∗
The free verse [in the brief poems of Aspects of Eve] is in the objectivist vein, with short lines (sometimes one word) and little interest in stanzaic arrangement…. [Pastan] introspects on domestic concerns, but her ideas are [easy] to follow because of the precise figurative language. Although the verse is plainspoken and direct, its disarming simplicity is not artless, for the poet conveys much with great economy of means. Her concise diction and carefully chosen imagery communicate with clarity and immediacy, suggesting William Carlos Williams at his sparest and least pretentious. There is nothing major here, nothing truly ambitious, but the individual poems express an unmistakable genuineness of feeling. Although the lack of intensity and passion is no doubt deliberate, the poems seem occasionally too casual, too mundane, to grasp and hold the imagination. (pp. 1447-48)
A review of "Aspects of Eve: Poems," in Choice (copyright © 1976 by American Library Association; reprinted by permission of the American Library Association), Vol. 12, No. 11, January, 1976, pp. 1447-48.
Linda Pastan's Aspects of Eve has dream images, essencing images, house and family and garden imagery, Old Testament imagery, classical imagery, usually in short narratives about coming to terms with her experience. The poems are sure of touch, rightly distanced. The terms are not small terms; she says important, clear words about some important subjects: death, endurance, kindness. Her poems go unexpected ways through several kinds of imagery and saying, and they work out as wholes, naturally, uncontrivedly. "David" and "Algera" are, in my judgment, the two best poems in the book; but my favorite is "Folk Tale." It's nice, among all the current goings-on, to have a poem for parents. (p. 539)
Paul Ramsey, "Image and Essence: Some American Poetry of 1975," in The Sewanee Review (reprinted by permission of the editor; © 1976 by The University of the South), Vol. LXXXIV, No. 3, Summer, 1976, pp. 533-41.∗
[Aspects of Eve is a] conventional and intense book. Despite frequent references to old myths—Greek, Biblical, and literary—these poems lose none of their relevance and power. The woman's voice is contemporary, whether as mother … or as a wife…. These poems about family life and parenthood are refreshing without being—I hate to say it—"sentimental." A personal book, without being private, Aspects of Eve bears reading and rereading. (p. 105)
Kathryn Ruby, "Chants, Parables, Sagas: New Books by Women Poets," in Ms. (© 1976 Ms. Magazine Corp.), Vol. V. No. 3, September, 1976, pp. 103-05.∗
For the poetry of Linda Pastan I have a continuing and solid—respect. Never baroque, never sentimental, never suffused with a militant feminism or any other transient ism that forces poetry to yield to ideology or sociology or worse. What is she then? Simply a competent poet. And not because of one or two good poems but because all her poems have a kind of uniform excellence. Now the earlier poems of A Perfect Circle of Sun and Aspects of Eve have a shelf companion in her new The Five Stages of Grief. Her language in this new book, as in its predecessors, is spare as gristle and just as hard and, if I'm not pushing the comparison too far, just as luminous. There is not a poem in the book...
(The entire section is 275 words.)
[Linda Pastan's The five stages of grief: Poems] bears resemblance to her previous works in its quality of imagery and consistency of tone. The imagery seems always familiar yet exactly correct, like an old myth restored in new words. These new words, the images and statements, then weave themselves into a voice that speaks, rails, sings of life, of its disappointments, inevitabilities, and possibilities. But this voice has the consistent tonal qualities a child remembers as being behind the stories heard read through the winter of sleepless nights. This consistency of tone unifies the whole volume as clearly as do the physical divisions, the five stages one goes through before the acceptance of grief—denial,...
(The entire section is 197 words.)
Linda Pastan is a master of the well-made poem. Her use of technique is so precise, so careful, that it seems she would be a perfect example to use in teaching young poets how to control their material. Her best poems are specimens, admirable for the telling way in which their point is made. She shows best, too, in single poems; her volumes tend not to have much cohesion—even when, as in The Five Stages of Grief, such cohesion is obviously an important goal for the volume. The book is arranged according to the five stages—denial, anger, bargaining, depression, acceptance—and the jacket tells us that the source of the original grief is coming to terms with our own death, our own life. The concept is vague,...
(The entire section is 293 words.)
[Loneliness] provides the creative conflict out of which many of [Linda Pastan's] poems are made. After journal-like, imagistic beginnings, the colloquial style she develops through the four collections from which her Selected Poems … are taken, increasingly sets out to explore a double loneliness: that of a commitment to family relationships caught in a time-scale (children grow up etc.), and that of commitment to the isolated life of a poet. Her witty style and capacity to grow poems through extending and shifting metaphor widen the significances of these two areas, but her strength lies in her basic human understanding and her ability to find and time metaphors. (pp. 74-5)
(The entire section is 125 words.)
Linda Pastan's Selected Poems are written almost entirely in a mode that lends itself to expressions of limitation and low spirits: short poems, short lines, mild sub-romantic diction…. Many of them teeter on the brink of sentimentality (and there is an obvious danger of sameness about the routine). Yet somehow they do draw away from it: a well-controlled, resolving image will often work successfully against the current pulling a poem down towards bathos. Now in her forties, she has only been writing during the 1970s, and it's encouraging to see that towards the end of this volume she is getting more strength and resonance into these modestly structured pieces.
(The entire section is 127 words.)
The Virginia Quarterly Review
Linda Pastan's voice [in Waiting for My Life] grows in quiet maturity, as her poems continue to combine delicate irony of vision with grace and elegance of expression. Hers is a distinctive style, pure, clear, and precise, her images chosen with a sure sense of balance and proportion. The short lines and economy of language may give the impression of a slight poem, but this spareness corresponds to an aim for simplicity and integrity. (pp. 25-6)
A review of "Waiting for My Life," in The Virginia Quarterly Review (copyright, 1982, by The Virginia Quarterly Review, The University of Virginia), Vol. 58, No. 1 (Winter, 1982), pp. 25-6....
(The entire section is 103 words.)
"What do I mean by straight writing, I have been asked. I mean, in part, writing that is not mannered, overconscious, or at war with common sense," Marianne Moore wrote. Nothing could better describe the writing of Linda Pastan, which is everywhere accessible, clear, and straight. But it is a straightness that has some of Frost's walking stick to it. She is so in command of herself and of her abilities that you turn the pages of her fourth collection, Waiting For My Life, with almost the same expectations that you have when you fall asleep for the night, that tomorrow is entirely possible and probably more interesting than today. If Linda Pastan is like anybody now writing it is William Stafford; that...
(The entire section is 1011 words.)
Linda Pastan appeals to a broad audience, from the readers of serious poetry journals to the readers of women's magazines. Stark simplicity is her hallmark, and her values are conventional and family-oriented. Pastan's language is plain, her lines are short, her message is heartwarming. Within these small formats, she exhibits a fine technical skill and genuine inspiration. Many of her metaphors, which are never overly ingenious or forced, are chosen from the Bible and other classical sources. Pastan's work depicts continuity in the dailiness of life and the peaceable kingdom of domesticity. Drawn from four books that have appeared over a decade, [the poems in "PM/AM: New and Selected Poems"] are highly complementary....
(The entire section is 182 words.)
"PM/AM" is a selection from Linda Pastan's four previous books, plus some newer poems….
As her rather low-key title might imply, Miss Pastan is a chronicler of the quotidian, domestic world….
Miss Pastan is clever at turning images and references to serve her purposes symbolically, though her poetry takes few overt risks of either form or subject and her main gesture is one of reiteration and confirmation rather than illumination of the sources and consequences of her obsessions and turmoils. (p. 33)
Besides family,… [some] poems invoke death, failed relationships, feminism and the role of the poet…. Her diction is uncomplicated and direct, with little...
(The entire section is 225 words.)