Robinson Jeffers

John Robinson Jeffers (January 10, 1887 â€" January 20, 1962) was an American poet, known for his work about the central California coast. Most of Jeffers' poetry was written in narrative and epic form, but today he is also known for his short verse, and considered an icon of the environmental movement. Once influential and highly regarded, despite his stated 'inhumanism', Jeffers thought transcending conflict required human concerns to be de-emphasized in favor of the boundless whole. This led him to oppose US participation in WW2, a stand that was widely seen as misanthropic or nihilist, and destroyed his reputation.

Life

Jeffers was born in Allegheny, Pennsylvania (now part of Pittsburgh), the son of a Presbyterian minister and biblical scholar, Reverend Dr. William Hamilton Jeffers, and Annie Robinson Tuttle. His brother was Hamilton Jeffers, who became a well-known astronomer, working at Lick Observatory. His family was supportive of his interest in poetry. He traveled through Europe during his youth and attended school in Switzerland. He was a child prodigy, interested in classics and Greek and Latin language and literature. At sixteen he entered Occidental College. At school, he was an avid outdoorsman, and active in the school's literary societies.

After he graduated from Occidental, Jeffers went to the University of Southern California to study at first literature, and then medicine. He met Una Call Kuster in 1906; she was three years older than he was, a graduate student, and the wife of a Los Angeles attorney. In 1910 he enrolled as a forestry student at the University of Washington in Seattle, a course of study that he abandoned after less than one year, at which time he returned to Los Angeles. Sometime before this, he and Una had begun an affair that became a scandal, reaching the front page of the Los Angeles Times in 1912. After Una spent some time in Europe to quiet things down, the two were married in 1913, and moved to Carmel, California, where Jeffers constructed Tor House and Hawk Tower. The couple had a daughter who died a day after birth in 1914, and then twin sons (Donnan and Garth) in 1916. Una died of cancer in 1950. Jeffers died in 1962; an obituary can be found in the New York Times, January 22, 1962.

Poetic career

In the 1920s and 1930s, at the height of his popularity, Jeffers was famous for being a tough outdoorsman, living in relative solitude and writing of the difficulty and beauty of the wild. He spent most of his life in Carmel, California, in a granite house that he had built himself called "Tor House and Hawk Tower." Tor is a term for a craggy outcrop or lookout. Before Jeffers and Una purchased the land where Tor House would be built, they rented two cottages in Carmel, and enjoyed many afternoon walks and picnics at the "tors" near the site that would become Tor House.

To build the first part of Tor House, a small, two story cottage, Jeffers hired a local builder, Michael Murphy. He worked with Murphy, and in this short, informal apprenticeship, he learned the art of stonemasonry. He continued adding on to Tor House throughout his life, writing in the mornings and working on the house in the afternoon. Many of his poems reflect the influence of stone and building on his life.

He later built a large four-story stone tower on the site called Hawk Tower. While he had not visited Ireland at this point in his life, it is possible that Hawk Tower is based on Francis Joseph Bigger's 'Castle SÃ©an' at Ardglass, County Down, which had also in turn influenced Yeats' poets tower, Thoor Ballylee. Construction on Tor House continued into the late 1950s and early 1960s, and was completed by his eldest son. The completed residence was used as a family home until his descendants decided to turn it over to the Tor House Foundation, formed by Ansel Adams, for historic preservation. The romantic Gothic tower was named after a hawk that appeared while Jeffers was working on the structure, and which disappeared the day it was completed. The tower was a gift for his wife Una, who had a fascination for Irish literature and stone towers. In Una's special room on the second floor were kept many of her favorite items, photographs of Jeffers taken by the artist Weston, plants and dried flowers from Shelley's grave, and a rosewood melodeon which she loved to play. The tower also included a secret interior staircase â€" a source of great fun for his young sons.

During this time, Jeffers published volumes of long narrative blank verse that shook up the national literary scene. These poems, including Tamar and Roan Stallion, introduced Jeffers as a master of the epic form, reminiscent of ancient Greek poets. These poems were full of controversial subject matter such as incest, murder and parricide. Jeffers' short verse includes "Hurt Hawks," "The Purse-Seine" and "Shine, Perishing Republic." His intense relationship with the physical world is described in often brutal and apocalyptic verse, and demonstrates a preference for the natural world over what he sees as the negative influence of civilization. Jeffers did not accept the idea that meter is a fundamental part of poetry, and, like Marianne Moore, claimed his verse was not composed in meter, but "rolling stresses." He believed meter was imposed on poetry by man and not a fundamental part of its nature.

Initially, Tamar and Other Poems received no acclaim, but when East Coast reviewers discovered the work and began to compare Jeffers to Greek tragedians, Boni & Liveright reissued an expanded edition as Roan Stallion, Tamar and Other Poems (1925). In these works, Jeffers began to articulate themes that contributed to what he later identified as Inhumanism. Mankind was too self-centered, he complained, and too indifferent to the "astonishing beauty of things." Jeffers's longest and most ambitious narrative, The Women at Point Sur (1927), startled many of his readers, heavily loaded as it was with Nietzschean philosophy. The balance of the 1920s and the early 1930s were especially productive for Jeffers, and his reputation was secure. In 1934, he made the acquaintance of the philosopher J Krishnamurti and was struck by the force of Krishnamurti's person. He wrote a poem entitled "Credo" which many feel refers to Krishnamurti. In Cawdor and Other Poems (1928), Dear Judas and Other Poems (1929), Descent to the Dead, Poems Written in Ireland and Great Britain (1931), Thurso's Landing (1932), and Give Your Heart to the Hawks (1933), Jeffers continued to explore the questions of how human beings could find their proper relationship (free of human egocentrism) with the divinity of the beauty of things. These poems, set in the Big Sur region (except Dear Judas and Descent to the Dead), enabled Jeffers to pursue his belief that the natural splendor of the area demanded tragedy: the greater the beauty, the greater the demand. As Euripides had, Jeffers began to focus more on his own characters' psychologies and on social realities than on the mythic. The human dilemmas of Phaedra, Hippolytus, and Medea fascinated him.

Many books followed Jeffers' initial success with the epic form, including an adaptation of Euripides' Medea, which became a hit Broadway play starring Dame Judith Anderson. D. H. Lawrence, Edgar Lee Masters, Benjamin De Casseres, and George Sterling were close friends of Jeffers, Sterling having the longest and most intimate relationship with him. While living in Carmel, Jeffers became the focal point for a small but devoted group of admirers. At the peak of his fame, he was one of the few poets to be featured on the cover of Time Magazine. He was also asked to read at the Library of Congress, and was posthumously put on a U.S. postage stamp.

Part of the decline of Jeffers' popularity was due to his staunch opposition to the United States' entering World War II. In fact, his book The Double Axe and Other Poems (1948), a volume of poems that was largely critical of U.S. policy, came with an extremely unconventional note from Random House that the views expressed by Jeffers were not those of the publishing company. Soon after, his work was received negatively by several influential literary critics. Several particularly scathing pieces were penned by Yvor Winters, as well as by Kenneth Rexroth, who had been very positive in his earlier commentary on Jeffers' work. Jeffers would publish poetry intermittently during the 1950s but his poetry never again attained the same degree of popularity that it had in the 1920s and the 1930s.

Inhumanism

Jeffers coined the word inhumanism, the belief that mankind is too self-centered and too indifferent to the "astonishing beauty of things." Jeffers articulated that inhumanism symbolized humans' inability to "uncenter" themselves. In "The Double Axe," Jeffers explicitly described inhumanism as "a shifting of emphasis and significance from man to notman; the rejection of human solipsism and recognition of the trans-human magnificence... This manner of thought and feeling is neither misanthropic nor pessimist... It offers a reasonable detachment as rule of conduct, instead of love, hate and envy... it provides magnificence for the religious instinct, and satisfies our need to admire greatness and rejoice in beauty."

Influence

His poems have been translated into many languages and published all over the world. Outside of the United States he is most popular in Japan and the Czech Republic. William Everson, Edward Abbey, Gary Snyder, and Mark Jarman are just a few recent authors who have been influenced by Jeffers. Charles Bukowski remarked that Jeffers was his favorite poet. Polish poet CzesÅ‚aw MiÅ‚osz also took an interest in Jeffers' poetry and worked as a translator for several volumes of his poems. Jeffers also exchanged some letters with his Czech translator and popularizer, the poet Kamil BednÃ¡Å™. Writer Paul Mooney (1904â€"1939), son of American Indian authority James Mooney (1861â€"1921) and collaborator of travel writer Richard Halliburton (1900â€"1939), "was known always to carry with him (a volume of Jeffers) as a chewer might carry a pouch of tobacco ... and, like Jeffers," writes Gerry Max in Horizon Chasers, "worshipped nature ... (taking) refuge (from the encroachments of civilization) in a sort of chthonian mysticism rife with Greek dramatic elements ..."

Jeffers was an inspiration and friend to western U.S. photographers of the early twentieth century, including Ansel Adams, Edward Weston, and Morley Baer. In fact, the elegant book of Baer's photographs juxtaposed with Jeffers' poetry, combines the creative talents of those two residents of the Big Sur coast.

Although Jeffers has largely been marginalized in the mainstream academic community over the last thirty years, several important contemporary literary critics, including Albert Gelpi of Stanford University, and poet, critic and NEA chairman Dana Gioia, have consistently cited Jeffers as a formidable presence in modern literature.

His poem "The Beaks of Eagles" was made into a song by The Beach Boys on their album Holland (1973).

Two lines from Jeffers' poem "We Are Those People" are quoted toward the end of the 2008 film Visioneers.

Several lines from Jeffers' poem "Wise Men in Their Bad Hours" ("Death's a fierce meadowlark: but to die having made / Something more equal to the centuries / Than muscle and bone, is mostly to shed weakness.") appear in Christopher McCandless' diary.

Robinson Jeffers is mentioned in the 2004 film I Heart Huckabees by the character Albert Markovski played by Jason Schwartzman, when defending Jeffers as a nature writer against another character's claim that environmentalism is socialism. Markovski says, "Henry David Thoreau, Robinson Jeffers, the National Geographic Society...all socialists?"

Bibliography

Flagons and Apples. Los Angeles: Grafton, 1912.
Californians. New York: Macmillan, 1916.
Tamar and Other Poems. New York: Peter G. Boyle, 1924.
Roan Stallion, Tamar, and Other Poems. New York: Boni and Liveright, 1925.
The Women at Point Sur. New York: Liveright, 1927.
Cawdor and Other Poems. New York: Liveright, 1928.
Dear Judas and Other Poems. New York: Liveright, 1929.
Thurso's Landing and Other Poems. New York: Liveright, 1932.
Give Your Heart to the Hawks and other Poems. New York: Random House, 1933.
Solstice and Other Poems. New York: Random House, 1935.
Such Counsels You Gave To Me and Other Poems. New York: Random House, 1937.
The Selected Poetry of Robinson Jeffers. New York: Random House, 1938.
Be Angry at the Sun. New York: Random House, 1941.
Medea. New York: Random House, 1946.
The Double Axe and Other Poems. New York: Random House, 1948.
Hungerfield and Other Poems. New York: Random House, 1954.
The Beginning and the End and Other Poems. New York: Random House, 1963.
Robinson Jeffers: Selected Poems. New York: Vintage, 1965.
Stones of the Sur. Stanford: Stanford University Press, 2001.

References

External links

The Robinson Jeffers Association
Robinson Jeffers at the Academy of American Poets.
Robinson Jeffers bio at Modern American Poetry
Works by or about Robinson Jeffers in libraries (WorldCat catalog)
The Tor House Foundation website
Rhapsody and Requiem (1967) documentary on Jeffers
Jeffers Studies
Centennial Exhibition An online Jeffers' exhibit at Occidental College
Guide to the Robinson Jeffers Collection at Yale University

Robinson Jeffers

Monday, March 2, 2015