Lorine Niedecker Criticism
Lorine Niedecker (1903–1970) stands as a distinctive voice in modernist poetry, known for her innovative poetics and profound engagement with themes of nature, history, and personal experience. Her poetry, which began appearing in the 1920s, draws from influences such as Objectivism and surrealism, resulting in the fragmentary and precise style that marks her work. With a unique "condensery" approach, Niedecker captures landscapes infused with human presence, as exemplified in her renowned work, Blue Chicory, and noted by Tony Harrison. Her poetry frequently employs the three-stepped line form, popularized by W. C. Williams, which can be seen in poems like "Wintergreen Ridge." Here, Niedecker's thematic focus on the vitality of nature unfolds against the backdrop of industrial capitalism and war.
Niedecker's work often explores the intricate relationship between people and their environments, using short, free-verse lines that evoke both the natural and historical essence of a region. Her poem "Lake Superior" (1968) is a prime example of her ability to blend geographic and historical perspectives, a hallmark of her style that Donald Davie discusses in his reviews. Critics have extensively examined Niedecker's work in relation to her life and literary connections, some viewing her poetry as a form of autobiography, while others emphasize her creation of a "poetics of place," depicting the upper Midwest's landscape and history. Lorna Jowett discusses how Niedecker's poetry often intertwines with her personal autobiography, while Jenny Penberthy highlights her early publishing endeavors.
Despite occasional struggles with brevity and awkward rhyming, Niedecker's work is celebrated for its precision and simplicity, achieving depth through minimalistic expression. This aspect of her poetry is explored by Chapter's Partner. Her poetry is both personal and communal, filled with feminine insights and humor, as praised by James Naiden in his discussion of Collected Poems 1968: My Life by Water. While her work avoids grandiose declarations, it makes powerful statements about natural human connections in the face of modern challenges, focusing instead on more personal and nuanced insights. Niedecker's legacy remains a testament to her distinct poetic voice and her profound engagement with both the natural world and the inner self.
Contents
- Principal Works
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Niedecker, Lorine (Contemporary Literary Criticism)
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Tony Harrison
(summary)
In the following essay, the critic analyzes Lorine Niedecker's poetic style of "condensery," critiquing its occasionally strained brevity and awkward rhyming, while acknowledging moments of success in her ability to infuse landscapes with human presence through personal memories.
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James Naiden
(summary)
In the following essay, James Naiden praises the compassion and personal, yet sociable nature of Lorine Niedecker's poetry in "Collected Poems 1968: My Life by Water," highlighting its feminine insights and humor during a tumultuous period from 1936 to 1968.
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Chapter's Partner
(summary)
In the following essay, Thomas Meyer explores the distinctive poetic style of Lorine Niedecker, emphasizing her use of language that combines precision with simplicity, and her ability to create profound works with minimalistic expression, often drawing inspiration from the everyday and the natural world.
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Tony Harrison
(summary)
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Niedecker, Lorine (Poetry Criticism)
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Lyric Minimum & Epic Scope: Lorine Niedecker
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In the following essay, Davie discusses the use of Great Lakes history in Niedecker's poetry, as well as Niedecker's use of grammar structure and prose.
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Lorine Niedecker: A Portrait of a Poet
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In the following essay, Bertholf discusses Niedecker's role in the legion of isolated folk poets such as Emily Dickinson.
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Niedecker
(summary)
In the following essay, Davie reviews two collections of Niedecker's poetry: Granite Pail and From this Condensery, both of which were published in 1985.
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Ain't Those the Berries: The Writings of Lorine Niedecker
(summary)
In the following essay, Butterick discusses Niedecker's use of space and language in From this Condensery and Granite Pail.
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‘Thoughts on Things’: a Review of The Granite Pail: The Selected Poems of Lorine Niedecker
(summary)
In the following review, Nichols praises the tone of voice, and subtle imagery that Niedecker uses in her collection of poems Granite Pail.
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Composing a Place: Two Versions of Lorine Niedecker's ‘Lake Superior’
(summary)
In the following essay, Faranda discusses the changes and base similarities Niedecker makes in her revision of “Lake Superior”.
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‘All Fashions Feud’: Images of Fashionable and Unfashionable Women in Lorine Niedecker
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In the following essay, Abbott explores representations of women in Niedecker's work, especially within the context of contemporary trends in women's clothing fashions.
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Postmodernism and Lorine Niedecker
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In the following essay, Davie reflects back on previous critical arguments he has made on Niedecker's 'Lake Superior'.
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Lorine Niedecker, The Anonymous: Gender, Class, Genre and Resistances
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In the following essay, DuPlessis discusses Niedecker's subtle role in the canon of female poets.
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‘The Revolutionary Word’: Lorine Niedecker's Early Writings 1928-1946
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In the following essay, Penberthy discusses Niedecker's attempts to publish her poems.
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On Lorine Niedecker
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In the following essay, Crase discusses Niedecker's “Lake Superior.”
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Feminist Poetics and the Meaning of Clarity
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In the following essay, Armantrout discusses Niedecker's relationship to other feminist poets and Niedecker's vision of female identity.
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Lorine Niedecker's ‘Folk Base’ and Her Challenge to the American Avant-Garde
(summary)
In the following excerpt, Middleton explores Niedecker's place within American avant-garde poetry and analyzes folk elements within the language of her poems.
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Lorine Niedecker: Auto/biography and Poetry
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In the following essay, Jowett explores how Niedecker's poetry engages her personal life and constructs her own autobiography.
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Lyric Minimum & Epic Scope: Lorine Niedecker
(summary)
- Further Reading