Thomas McGrath Criticism
Thomas McGrath (1916–1990) was a multifaceted American poet, novelist, scriptwriter, and editor, whose literary career remains marked by a voice both distinctive and underappreciated. His debut poetry collection, To Walk a Crooked Mile (1948), set the stage for themes that pervaded his work—critiques of American life marred by technological advancement, capitalism, and class struggles, reflecting what McGrath termed an "unaffiliated far Left" political stance. Despite accolades from critics like Kenneth Rexroth and Donald Hall, his audience has remained limited.
McGrath's poetry often evokes his native North Dakota, yet his work aims to capture the vastness of the American West through techniques such as surrealism and detailed cataloging. His most acclaimed work, the autobiographical epic Letter to an Imaginary Friend, Parts I & II (1962, 1970), is celebrated for its intricate weaving of personal history, myth, and vivid imagery. Critics like those from Choice and James Atlas have noted its profound reflection on McGrath's life and broader societal issues, placing him among America's leading poets.
His subsequent collection, Waiting for the Angel (1979), continues this narrative style but explores themes of loss with greater solemnity, as observed by Frederick C. Stern. While some critics, like Gerard Previn Meyer, critique his flirtation with surrealism, his work is defended for its sincerity and depth, reflecting broader American experiences and ideals.
Thomas McGrath's poetry, through its social consciousness and vivid depictions of American life, remains an essential exploration of the intersection between personal and political, making him a pivotal figure in American literature, as also illustrated in works mentioned by Roger Mitchell and others who explore his Marxist ideals.
Contents
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Leaning Man in the Waste Land
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In the following essay, Hugh Gibb argues that Thomas McGrath's poetry continues the socially conscious tradition of the 1930s English poets while avoiding their pitfalls, using vivid imagery and symbols to explore themes of love and social justice, and particularly highlighting his powerful wartime poems.
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Enigmas in Hutches
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In the following essay, Gerard Previn Meyer critiques Thomas McGrath's flirtation with surrealism and political themes in his poetry, arguing that while McGrath possesses considerable talent and vitality, his work suffers when he oversimplifies political messages and relies on surrealist techniques.
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Written in American
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In the following essay, Kenneth Rexroth argues that Thomas McGrath, although overshadowed by political circumstances and residing in Los Angeles, deserves greater recognition for his skilled and sincere poetry that transcends mere political issues to reflect his personal essence.
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Letter to an Imaginary Friend, Parts I and II
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In the essay, the critic examines McGrath's "Letter to an Imaginary Friend, Parts I and II," highlighting the poet's growth from evocative but unresolved memories to maturely confronting personal and societal traumas, ultimately placing McGrath among America's leading contemporary poets.
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Letter to an Imaginary Friend. Parts I and II
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In the following essay, the critic examines Thomas McGrath's attempt in "Letter to an Imaginary Friend" to transform the American Dream through shaping personal autobiography into a national myth, ultimately noting the difficulty of this task as personal details often fail to resonate as universal myth.
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Choice
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The critic examines "Letter to an Imaginary Friend" as a poetic and historical tapestry woven with vivid, episodic reflections on personal and social themes, highlighting its structural fluidity, dynamic imagery, and its compelling portrayal of mid-century American life.
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What Is To Be Done?
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In the following essay, James Atlas explores "Letter to an Imaginary Friend" as a powerful and underappreciated reflection on Thomas McGrath's life, relating personal and historical narratives to broader American societal struggles during the Depression and World War II.
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Minnesota Poetry—II
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In the following essay, James N. Naiden praises Thomas McGrath's collection, The Movie At The End Of The World, for its experimental forms and personal themes, asserting McGrath’s position as a major American poet and recommending his epic poem, Letter To An Imaginary Friend, as essential reading.
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Thomas McGrath: Native Son
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In the following essay, Charles Potts argues that Thomas McGrath's The Movie at the End of the World encapsulates over three decades of McGrath's finest short poems, which combine satirical sharpness and musicality, asserting McGrath's vital place among America's leading poets.
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Open Songs: Sixty Short Poems
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In the following essay, John Jacob argues that Thomas McGrath's Open Songs: Sixty Short Poems showcases the poet's meticulous craft in constructing a poetic world, despite lacking the expansive historical and thematic depth that characterizes his renowned work, Letter to an Imaginary Friend.
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Notes on Poetry: McGrath's Invective
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In the following essay, Donald Hall argues that Thomas McGrath excels at public invective in American poetry, offering authentic critiques unlike many contemporaries, and asserts that his long poem Letter to an Imaginary Friend exemplifies this rare talent, despite its imperfections.
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Angelicizing the Demonic
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In the following essay, Frederick C. Stern argues that Thomas McGrath's Waiting for the Angel showcases the poet's mastery of technique and thematic depth, addressing personal history, political radicalism, and the attempt to humanize the world's darker aspects, though his political stance may have limited his recognition.
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Unaffiliated Far Left
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In the following essay, Roger Mitchell examines Thomas McGrath's dedication to maintaining "the generous wish" of Marxist ideals in his poetry, highlighting McGrath's shift from an Audenesque style to a more personal and emotionally varied form in works like Letter to an Imaginary Friend and Waiting for the Angel, thereby keeping revolutionary hope alive amid cultural disillusionment.