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Muriel Rukeyser: Selected Poems
BY Muriel Rukeyser Ed. by Adrienne Rich
Library of America, $20.00



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If you think of poetry as a kind of specialized social work, then you may agree when Adrienne Rich claims in her introduction to Muriel Rukeyser’s Selected Poems that “the range and daring of [Rukeyser’s] work, its generosity of vision, its formal innovations, and its level of energy are unequalled among twentieth-century American poets.” If you have a different perspective on art and life, however, you may find yourself on the side of Weldon Kees, who reviewed Rukeyser’s Wake Island with a single sentence: “There’s one thing you can say about Muriel: she’s not lazy.”   

Rukeyser was born in 1913, which puts her in the generation of Bishop, Berryman, Lowell, and Jarrell. Her poems range from the sprawling to the epigrammatic; they often have a flat, documentary feel (“The tunnel is part of a huge water power project/begun, latter part of 1929”), and they’re formally various (excerpted sections from a single long poem, “Letter to the Front,” contain both a sonnet and a sestina). In her opening remarks, Rich opines that Rukeyser “created a poetics of historical sensibility—not as nostalgia but as resource to express and interpret contemporary experience and imagine a different future.” “Is she,” you might ask, “really that boring?” Fortunately, no; or at least, not always. At its best, Rukeyser’s work can be open, energetic, and well constructed, if a little enamored of its own goody-goodness (“Women and poets believe and resist forever”). Consider the precision of “Salamander”:

Red leaf.       And beside it, a red leaf alive
flickers, the eyes set wide in the leaf-head,
small broad chest, a little taper of flame for tail
moving a little among the leaves like fear.

Flickering red in the wet week of rain
while a bird falls safely through his mile of air.


Often, however, Rukeyser’s poetry is every bit as tedious as Rich makes it sound. At its worst, her work has the campy, creepy tone of someone soliciting for the International Union of Absolutely Good People:

Woman, American, and Jew,
three guardians watch over you,
three lions of heritage
resist the evil of your age:
life, freedom, and memory.
Bubble of Air



It’s worth thinking about what we really mean when we pat poets like Rukeyser on the back for having a “sense of ‘the truths of outrage and the truths of possibility’” (as Rich does in her introduction). The implication of such language is that a special virtue—almost like a good citizenship badge—automatically attaches to poetry that involves phrases like “Scottsboro trial” or that urge us not “to despise the other/Not to despise the it”; or to poems that avoid irony in favor of fist-pumping affirmation. Yet Rukeyser’s alleged “complex and open political vision” has had no more (and arguably less) practical political impact than Elizabeth Bishop’s supposedly “private” poetry. Maybe it would be good to recall that disciplines like politics (and science, and medicine, and law) have their own considerable bodies of knowledge, and that poetry’s claimed engagement in these areas should be judged by the same standards the disciplines have set for themselves. And it wouldn’t hurt either to recognize that history tends to view the most “engaged” poets as those who have made art worth engaging with.


— David Orr

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