Creeley, Robert

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Creeley, Robert,

1926–2005, American poet, b. Arlington, Mass. He lived in Asia, Europe, and Latin America and taught at various universities in the United States. With Charles OlsonOlson, Charles,
1910–70, American critic and poet, b. Worcester, Mass., grad. Harvard (B.A., 1932; M.A., 1933). His literary reputation was established with Call Me Ishmael (1947), a study of the influence of Shakespeare and other writers on Melville's Moby-Dick.
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, he was a leading member of the Black Mountain school of poetry and for a time (1954–57) was editor of the Black Mountain Review. Creeley's poems have an effect of purity and elegance, with their combination of emotional directness and reticence, their conversational tone, brevity of development, and spare lyricism. His works include the poetry of Pieces (1969), Selected Poems (1976), Memory Gardens (1986), Echoes (1994), Life & Death (1998), Just in Time (2001), and the posthumously published On Earth (2006), and a novel, The Island (1963). Creeley was also a short-story writer and essayist. In addition, from the 1960s on he collaborated on a variety of projects with such artists as Robert Indiana, Georg Baselitz, R. B. Kitaj, Alex Katz, and Susan Rothenberg. Creeley's collected poems were published in 1982 and 1998 and his collected prose in 1984.


See his Autobiography (1990); correspondence with Charles Olson, ed. by G. F. Butterick (8 vol., 1980–87); correspondence with Irving Layton, ed. by E. Faas and S. Reed (1990); studies by A. Mandel (1974), C. D. Edelberg (1978), A. L. Ford (1978), J. Wilson, ed. (1987), T. Clark (1993), A. Cappellazzo and E. Licata, ed. (1999), and L. Rifkin (2000).

Creeley, Robert (White)

(1926–  ) poet, writer; born in Arlington, Mass. He studied at Harvard (1943–46), Black Mountain College (B.A. 1955), and the University of New Mexico (M.A. 1960). After extensive travel, he taught at New York State University: Buffalo (1966). Known for his poetry, as in Mirrors (1983), he also wrote criticism and fiction.
References in periodicals archive ?
That wetness is the wetness of Robert Creeley's "decent happiness," and the Christ-like "people you might love" are, in large part, the working-class immigrant families that have populated Levine's work from the beginning.
Winnicott's "not-communicating," Randall Jarrell's beards, mourning the elegy: Robert Creeley's "Mother's Photograph," Ted Berrigan's reparations, Aaron Kunin's line of shame, and this feeling of time: Claudia Rankine's Citizen.
In contrast to Michael Dennis Browne's patient, reasonable poem, Robert Creeley's poem "Mother's Voice" enacts a less detached psychological state of enmeshment in a more dire and physical way.
From 1965 to 1969, Diane di Prima's Poets Press published more than two dozen volumes by major poets of the 20th century--including Allen Ginsberg, Robert Creeley, and Frank O'Hara--and helped launch the careers of young writers such as Audre Lorde, David Henderson, and A.B.
Synopsis: "This Is Me, Not Robert Creeley, Speaking" is a book of poetry in which the Paul Bussan, in his own particular way, attempts to capture that calculated spacing and passionate compression which Dudley Fitts cited as the virtues of Robert Creeley's first book of poetry "For Love", and in which the poetry is not so much found in the poems themselves as in the spirit animating them.
Gelpi predictably divides the contemporary scene in two: the "modest, tempered, ecological Neoromanticism" of such poets as Robert Hass and Mary Oliver and the "combative, highly theorized Postmodernism" of such poets as Robert Creeley, Lyn Hejinian, and Susan Howe (207).
(20) This 1960 anthology showcased the Beats (Lawrence Ferlinghetti, Allen Ginsberg, Gregory Corso, Gary Snyder, and others), the Black Mountain school (including Charles Olson, Robert Creeley, Denise Levertov, Ed Dorn, and Robert Duncan), and the New York poets (such as Frank O'Hara, Kenneth Koch, James Schuyler, and Barbara Guest).
The papers of American poet Robert Creeley, which are housed in Stanford's archives, are being used as a test collection in the development of the ePADD system.
The Selected Letters of Robert Creeley. Berkeley: University of California Press.
Scenes with writers such as Alan Dugan, Gregory Corso, and Robert Creeley underscore the work center's high-spirited environment.
The title of Fleda Brown's new verse collection comes from Robert Creeley's statement (included in the book as an epigraph) that "poetry stands in no need of any sympathy, or even goodwill." This observation about the art's self-justifying activity and existence leads nicely in the first few pages to one of the book's best poems, "The Purpose of Poetry," in which Brown positions the art in relation to contemporary American culture.
Topics include reading the difficult, canonical strategies and the question of authority, Basil Bunting (with and without Louis Zukofsky), thinking with the poem, reading Niedecker, Niedecker and Bunting, Richard Caddel, Mina Loy, George Oppen and some women writers, Robert Creeley, Lyn Hejinian, McCafferty's The Black Debt, Bruce Andrews, and finally, the reading of the book.