Authors: Charles Wright

  • Last updated on December 10, 2021

American poet

Author Works

Poetry:

The Dream Animal, 1968

The Grave of the Right Hand, 1970

The Venice Notebook, 1971

Hard Freight, 1973

Bloodlines, 1975

China Trace, 1977

The Southern Cross, 1981

Country Music: Selected Early Poems, 1982, 2d ed. 1991

The Other Side of the River, 1984

A Journal of the Year of the Ox, 1988

Zone Journals, 1988

Xiona, 1990

The World of the Ten Thousand Things: Poems, 1980-1990, 1990

Chickamauga, 1995

Black Zodiac, 1997

Appalachia, 1998

Negative Blue: Selected Later Poems, 2000

A Short History of the Shadow, 2002

Translations:

The Storm and Other Poems, 1978 (of Eugene Montale)

Orphic Songs, 1984 (of Dino Campana)

Nonfiction:

Halflife: Improvisations and Interviews 1977-1987, 1988

Quarter Notes: Improvisations and Interviews, 1995

Biography

Charles Penzel Wright, Jr., one of the most inventive and consistently interesting American poets of the last half of the twentieth century, was born in the small town of Pickwick Dam in Hardin County, Tennessee, in 1935. He attended Davidson College, from which he received a B.A. in history in 1957. He later described his college experience as “wasted years”; he had no vocation to be a poet at the time and had not read much poetry in college. After graduating from Davidson, he spent three years in Army Intelligence, most of them in Italy. There he read Ezra Pound and began to think of becoming a poet. Pound was living during those years nearby in Rapallo, but Wright was too shy to introduce himself to the great but disgraced founder of modernism. Nevertheless, Pound’s work, particularly the imagery of his early poems remained a great influence on Wright’s poetry.{$I[AN]9810001559}{$I[A]Wright, Charles}{$I[geo]UNITED STATES;Wright, Charles}{$I[tim]1935;Wright, Charles}

Charles Wright

After leaving the Army, Wright enrolled at the University of Iowa’s distinguished Writers’ Workshop, from which he received an M.F.A. in 1963. At Iowa, he studied under Donald Justice and Paul Engle; he speaks with warmth of Justice as a superb poet and teacher. In 1966 he began teaching at the University of California at Irvine. For a time he lived in Laguna Beach, California, a seaside resort about which he has written some sardonic poems; he subsequently became a professor at the University of Virginia at Charlottesville. He has been the recipient of a number of awards, including a Guggenheim Fellowship, an Edgar Allan Poe Award from the Academy of American Poets, and a Fulbright grant.

In one of his essays, Wright has cited two quite different figures as important influences: A. P. Carter, the head of the famous group of country musicians the Carter Family, and Emily Dickinson. His own poetry is a curious mixture of rural language, humor, and esoteric philosophical concerns. Wright has described his method as the “metaphysical quotidian” in which philosophical speculation is rooted in the particulars of a landscape. Wright’s first significant book of poems, The Grave of the Right Hand, includes a number of prose poems that are meditations on nature; many of these are set in Italy, a region to which he has continually returned in his work. (He has also translated volumes by the Italian poets Eugene Montale and Dino Campana, and he has acknowledged the influence of Montale’s “hermetic” method on his own work.) The poems in his next important book, Hard Freight, pay homage to a number of his poetic mentors, including Pound and Arthur Rimbaud. However, the volume’s last poem, “Clinchfield Station,” examines Wright’s Southern roots. His background is even more evident in Bloodlines, which contains a number of elegies, including one on his father entitled “Hardin County.” The book also contains a sequence of short poems called “Tattoos,” each of which is related to a specific event in Wright’s life.

China Trace is a very different sort of book; the poems are very short and are structured around central images. One poem, “Reply Chi’ Ki’ang,” makes the connection with Chinese poetry clear. The greatest influence, however, seems to be Pound’s free renderings of original Chinese poems. Throughout the volume, Wright focuses on imagery as structure in a manner quite unlike his usual meditations on landscape. The Southern Cross is interesting for its four “Self Portraits.” Wright does not always speak in his own voice, even though he uses an “I” as a poetic speaker, and these poems are as far removed from confessional poetry as possible; one critic has described the speaker as a “transcendental I.” There is also an extensive poem on the painter Paul Cézanne that suggests yet another structural influence on Wright’s poems. Country Music: Selected Early Poems, which received the American Book Award, demonstrates Wright’s range as well as a growth in style and structure. The volume enables readers to trace Wright’s development from the tentative early poems to those that display his assured voice and style. The World of the Ten Thousand Things: Poems, 1980-1990 is an impressive collection of a decade of Wright’s work; one critic has described the book as an extended metaphysical search. Yet one of Wright’s finest books is, perhaps, Chickamauga, in which his interest in the nature of reality finds full expression. Wright plays with the idea of presence and absence in many of the poems, although the philosophic discussion is rooted in specific imagery–which, as always, serves him as a starting place. His next collection, Black Zodiac, won the Pulitzer Prize in poetry and the National Book Critics Circle Award.

BibliographyAndrews, Tom, ed. The Point Where All Things Meet: Essays on Charles Wright. Oberlin, Ohio: Field Editions, 1995. These twenty-seven essays make clear that Wright is one of a handful of poets around whom American poetry has been centered in the last quarter of the twentieth century. Contributors include David Kalstone, Helen Vendler, Calvin Bedient, David Walker, J. D. McClatchy, and Bonnie Costello.Bedient, Calvin. “Tracing Charles Wright.” Parnassus: Poetry in Review 10, no. 1 (1982): 55-74. Written in an oblique and lyrical style that is somewhat difficult to access, this article is perceptive and comprehensive. It treats Wright’s career from Hard Freight to The Southern Cross, paying close attention to major themes and particularly to the liturgical elements of the books. Bedient does not examine the individual books but ranges randomly through them, drawing examples to exemplify his interpretations.Costello, Bonnie. “Charles Wright, Giogio Morandi, and the Metaphysics of the Line.” Mosaic 35, no. 1 (March, 2002): 149-171. Traces the influence of Italian modernist painter Morandi on Wright’s visual presentation of his poetry.McClatchy, J. D. White Paper: On Contemporary American Poetry. New York: Columbia University Press, 1989. McClatchy draws upon an interview he conducted with Wright to explicate Wright’s major poem “The Southern Cross.” He prepares for this explication with an informative overview of Wright’s development as a poet and the primary characteristics of his style. McClatchy writes intelligibly and with discernment, covering a lot of ground in seventeen pages.McCorkle, James. “Things That Lock Our Wrists to the Past: Self-Portraiture and Autobiography in Charles Wright’s Poetry.” In The Still Performance: Writing, Self, and Interconnection in Five Postmodern American Poets. Charlottesville: University Press of Virginia, 1989. This long, dense, deconstructionist essay examines the relationship between self-portraiture and language in Wright’s poetry. It analyzes the books through The Other Side of the River.Santos, Sherod. “A Solving Emptiness: C. K. Williams and Charles Wright.” In A Poetry of Two Minds. Athens: University of Georgia Press, 2000. A comparison of mid-career poems by both poets, Santos examines parallel aesthetic experimentation and the shared determination to overcome despair through art.Stitt, Peter. “Charles Wright: Resurrecting the Baroque.” In Uncertainty and Plenitude: Five Contemporary Poets. Iowa City: University of Iowa Press, 1997. Stitt demonstrates an affinity between Wright’s style and concerns and those of the British Metaphysical poets of the early seventeenth century. Wright’s poems, despite narrative elements, are meditative and circular. Stitt gives “Lost Bodies” a close reading. He also notes Wright’s avoidance of politics and contemporary events.Upton, Lee. The Muse of Abandonment: Origin, Identity, Mastery, in Five American Poets. London: Associated University Presses, 1998. A critical study of five poets, including Wright, dealing with sociological issues in their work. Includes bibliographical references and an index.
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