Gary Snyder's journey into the poetic tapestry of "Mountains and Rivers Without End" began in 1956, a year marked by his participation in the legendary Six Gallery reading. This was the same event where Allen Ginsberg unveiled his groundbreaking poem "Howl." Inspired by the fluidity and panoramic depth of Chinese and Japanese scroll paintings, Snyder embarked on a literary expedition mirroring these artistic forms. His poetic sequence drew parallels between the dynamic landscapes of his native Western Pacific and the endless visual narratives found in Asian art, aiming to capture the essence of earth, water, and sky.

The Genesis of a Poetic Odyssey

In the early stages of his career, Snyder was already an enthusiastic mountain explorer and an emerging student of Asian traditions. This dual passion laid the groundwork for "Mountains and Rivers Without End," a poetic sequence that he began without a fixed endpoint in mind. His aspirations mirrored the epic nature of works like Ezra Pound's "CANTOS" and Walt Whitman's "SONG OF MYSELF." During the 1960s, he penned seven parts of his ambitious poem, distributing them in various journals while simultaneously pursuing his roles as a poet, essayist, environmental activist, and Zen practitioner.

Evolution Through the Decades

As Snyder's influence as a major American writer grew, so did the complexity and structure of his ongoing project. Throughout the decades, his dedication to "Mountains and Rivers Without End" persisted alongside other artistic and social endeavors. The 1980s saw Snyder enriched by firsthand experiences with the scroll paintings he so admired, as well as visits to major urban centers which introduced new dimensions to his poem, juxtaposing the wilderness with human habitation. It wasn't until the early 1990s that Snyder felt the fragments of his work aligned seamlessly, prompting him to conclude his epic journey.

A Journey Through Time and Space

In its completed form, "Mountains and Rivers Without End" unfolds as a journey of discovery across various dimensions—temporal, spatial, artistic, cultural, and social. The poem serves as a meditation on Snyder's core themes: the environment, mythologies from Native American and Asian cultures, the importance of community labor, and the transformative power of language. Mountains symbolize "willed self-discipline," while rivers embody a "generous and loving spirit of concern for all beings," weaving a connection between humanity and nature. This conceptual framework highlights Snyder's belief in the universe as an interconnected entity, reflecting and embracing itself.

The Artistic Commitment

At the heart of Snyder's work is the conviction that "All art and song/ is sacred to the real," a testament to his lifelong dedication to achieving excellence in art and life. By intertwining personal growth and the inevitability of change, the poem becomes a vehicle for exploring the evolving nature of perception and reality. Snyder's artistic journey not only captures the essence of a personal exploration but also invites readers to consider their own place within the intricate web of existence.

Further Reading and Reflection

For those seeking a deeper dive into Gary Snyder's work and the impact of "Mountains and Rivers Without End," several publications offer critical insights. Notable sources include the Columbus Dispatch (January 5, 1997), Los Angeles Times (October 22, 1996), and The New York Times Magazine (October 6, 1996). These articles provide varied perspectives on Snyder's contributions to literature and his exploration of interconnectedness within the natural world.