Theodore Huebner Roethke was an American poet, who published several volumes of poetry characterized by its rhythm and natural imagery.
Welcome back. I enjoyed reading afew poems each day. “it is not surprising,” as W.D. Of being born falls on his naked ears. Nothing wrested my soul with astonishment. Roethke’s awareness evolved at Michigan into a decision to pursue teaching—and poetry—as a career. Whitman was a great poet, but he's no competition for Roethke.” His difficult childhood, his bouts with bipolar disorder, and his ceaseless search for truth through his poetry writing led to a difficult life, but also helped to produce a remarkable body of work that would influence future generations of American poets to pursue the mysteries of one’s inner self. He attended the University of Michigan, Ann Arbor, where he adopted a tough, bear-like image (weighing over 225 pounds) and even developed a fascination with gangsters. A scent beloved of bees; As usual, most of these seem like metaphysical mumbo-jumbo except for "The Right Thing," which really gets that our world, and maybe the body /soul separation, are just different labels for part of the same thing.
Lighter than finches,
Silence of water above a sunken tree : Though Roethke is not generally considered a prolific writer, a more accurate account of the time and effort spent developing his verse is apparent in this extensive accumulation of criticism (of himself and others), abstract thoughts, reflections on childhood, and, of course, poetry.
Sullivan further theorized that “from the consequent sense of his own inadequacy Roethke seems to have acquired the burdens of fears and guilts which haunted him all his life.” Certainly his writings—from essays written at the University of Michigan to the poem “Otto” in The Far Field—uphold Seager’s comment that “all his life the memory loomed over him.” Understandably, critics picked up on the self as the predominant preoccupation in Roethke’s poems. Roethke’s The Far Field takes on the familiar poetic trope of the individual’s search for truth, authenticity, meaning beyond the boundaries of the small individual self towards what the speaker of the book’s first sequence of poems identifies as “the imperishable quiet at the heart of form.” This is the stillness and fullness achieved through oneness, however provisional, with all that exists in the wider world, and Roethke stages in the sections of the book three ways that that journey can be undertaken, capturing with clarity the contradictions at the heart of this search. Kenneth Burke has shown that by willingly immersing himself in the conflicts of his childhood Roethke precipitated his second breakdown; one psychiatrist has said, “I think his troubles were merely the running expenses he paid for being his kind of poet.” Not denying the personal tragedy of Roethke’s illness, Rosemary Sullivan maintained, “he was able to see in his experience a potential insight into other thresholds of consciousness.” These views correspond with Roethke’s premise on the search for truth: “To go forward (as a spiritual man) it is necessary first to go back.” In The Lost Son (1948) he explored this pattern in the title poem and in its three companion pieces, as Sullivan explained: “They are desperate poems, each beginning in negative, life-denying solipsism which is gradually and painfully transcended until the poet achieves an exultant experience of wholeness and relation.” In the same vein, Roethke probed the darkness of his childhood in “The Greenhouse Poems” of The Lost Son. This energetic pursuit of both a teaching and a writing career at times understandably affected his outlook. Grounded in a nature-based philosophy without getting too light and airy. Roethke’s death in 1963, of a heart attack while swimming in a friend’s pool, was “an incalculable loss to American Literature,” wrote Ralph Mills. The Far Field probes one woman’s coming to grips with the death of her harsh, beguiling, unknowable mother. The best section was the beginning "North American Sequence" especially the poem titled "The Rose". Hear Gwendolyn Brooks read "the mother" and Theodore Roethke read "My Papa's Waltz," with insights by ex-US Poet Laureate Donald Hall. (1951), followed much the same pattern set in The Lost Son by continuing “his most heroic enterprise,” the sequence of interior monologues initiated in the title poem of The Lost Son.
The road lined with snow-laden second growth, However, I thought that the last section was vastly superior to the rest of the book.
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