Confessional poetry#Further developments

In 1959 M. L. Rosenthal first used the term "confessional" in a review of Robert Lowell's Life Studies entitled "Poetry as Confession".The Nation, September 19, 1959), reprinted in Rosenthal 1991, pp. 109 – 112. Rosenthal somewhat reworked the review into an essay "Robert Lowell and the Poetry of Confession" in his 1960 book The Modern Poets Rosenthal differentiated the confessional approach from other modes of lyric poetry by way of its use of confidences that (Rosenthal said) went "beyond customary bounds of reticence or personal embarrassment".Ian Hamilton.(1994). 'A Biographer's Misgivings', collected in Walking Possession, Essays & Reviews 1968 – 1993, p 289. Addison-Wesley. {{ISBN|0-201-48397-1}} Rosenthal notes that in earlier tendencies towards the confessional, there was typically a "mask" that hid the poet's "actual face", and states that "Lowell removes the mask. His speaker is unequivocally himself, and it is hard not to think of Life Studies as a series of personal confidences, rather shameful, that one is honor-bound not to reveal".Rosenthal 1991, pp 109 In a review of the book in The Kenyon Review, John Thompson wrote, "For these poems, the question of propriety no longer exists. They have made a conquest: what they have won is a major expansion of the territory of poetry."{{Cite journal|last=Thompson|first=John|date=Summer 1959|title=Two Poets|journal=The Kenyon Review|volume=21|issue=3|pages=482–490|jstor=4333971}}

There were however clear moves towards the "confessional" mode before the publication of Life Studies. Delmore Schwartz's confessional long poem Genesis had been published in 1943; and John Berryman had written a sonnet sequence in 1947 about an adulterous affair he'd had with a woman named Chris while he was married to his first wife, Eileen (but since publishing the sonnets would have revealed the affair to his wife, Berryman didn't actually publish the sequence, titled Berryman's Sonnets, until 1967, after he divorced from his first wife). Snodgrass' Heart's Needle, in which he writes about the aftermath of his divorce, also preceded Life Studies.Kirsch, p. 2, makes this observation in his reassessment of the historical context of Life Studies.{{Cite book|last=Mariani, Paul L.|title=Dream song : the life of John Berryman|publisher=Trinity University Press|year=2016|isbn=978-1-59534-767-1|edition=2nd|location=New York|pages=9|oclc=960976205}}

Life Studies was nonetheless the first book in the confessional mode that captured the reading public's attention and the first labeled "confessional." Most notably "confessional" were the poems in the final section of Life Studies in which Lowell alludes to his struggles with mental illness and his hospitalization at McLean's, a mental hospital in Massachusetts. Plath remarked upon the influence of these types of poems from Life Studies in an interview in which she stated, "I've been very excited by what I feel is the new breakthrough that came with, say, Robert Lowell's Life Studies, this intense breakthrough into very serious, very personal, emotional experience which I feel has been partly taboo. Robert Lowell's poems about his experience in a mental hospital, for example, interested me very much."Orr, Peter, ed.

"The Poet Speaks – Interviews with Contemporary Poets Conducted by Hilary Morrish, Peter Orr, John Press and Ian Scott-Kilvert". London: Routledge and Kegan Paul, 1966.[http://www.sylviaplath.de/plath/orrinterview.html] A. Alvarez however considered that some poems in Life Studies "fail for appearing more compulsively concerned with the processes of psychoanalysis than with those of poetry"{{Cite book|last=Alvarez|first=Al|title=Risky business : people, pastimes, poker and books|date=April 1, 2009|publisher=Bloomsbury|isbn=978-0-7475-9311-9|location=London|pages=202|oclc=174130120}} while conversely Michael Hofmann saw the verbal merit of Lowell's work only diminished by emphasis on "what I would call the C-word, 'Confessionalism'".{{Cite book|last=Lowell, Robert|title=Robert Lowell : poems|publisher=Faber|year=2006|isbn=0-571-23040-7|location=London|pages=xiv|oclc=45325062}}

In a poetry class he taught at Boston University in the late 1950s, Lowell would go on to inspire confessional themes in the work of several prominent American poets. In 1955 Lowell requested a position at the university in part based on the suggestions of his psychiatrist, who advised Lowell to establish a routine in his life to help mitigate the effects of bipolar disorder.{{Cite journal|last=Carpenter|first=Geoffrey|date=December 2, 1982|title=Copeland, John G. et al. Telemundo: A Basic Reader. New York: Random House, Inc., 1980; Freeman, G. Ronald. Intercambios: An Activities Manual. New York: Random House, Inc., 1980|journal=Canadian Modern Language Review|language=en|volume=38|issue=2|pages=361a–362|doi=10.3138/cmlr.38.2.361a}} Lowell's class drew in a number of talented poets, including Anne Sexton and Sylvia Plath. Sexton joined the class in 1958, and working with Lowell proved pivotal in building her poetic voice. In 1958, Sylvia Plath would also join Lowell's course.{{Cite journal|last=Cross|first=Arthur Lyon|date=January 1, 1915|title=The Seymour Family. By A. Audrey Locke. (Boston and New York: Houghton Mifflin Company, 1914. Pp. viii, 386.), The Cavendish Family. By Francis Bickley. (Boston and New York: Houghton Mifflin Company. 1914. Pp. vii, 326.), The Cecil Family. By G. Ravenscroft Dennis. (Boston and New York: Houghton Mifflin Company. 1914. Pp. vi, 327.) and The La Tremoïlle Family. By Winifred Stephens. (Boston and New York: Houghton Mifflin Company. 1914. Pp. xvi, 341.)|url=https://academic.oup.com/ahr/article/20/2/396/29841|journal=The American Historical Review|language=en|volume=20|issue=2|pages=396–399|doi=10.1086/ahr/20.2.396|issn=0002-8762|via=Oxford Academic|url-access=subscription}} After exposure to the personal topics in Lowell's and Sexton's poems, Plath was drawn to confessional themes herself and began including them in her own work.{{Cite book|last=Wagner-Martin, Linda.|title=Sylvia Plath : a literary life|publisher=Palgrave Macmillan|year=2003|isbn=1-4039-1653-5|edition=2nd ed., rev. and expanded|location=New York|pages=Xi|oclc=52090569}}

Other key texts of the American "confessional" school of poetry include Plath's Ariel, Berryman's The Dream Songs, and Sexton's To Bedlam and Part Way Back, though Berryman himself rejected the label "with rage and contempt": "The word doesn't mean anything. I understand the confessional to be a place where you go and talk with a priest. I personally haven't been to confession since I was twelve years old".[http://www.theparisreview.org/interviews/4052/the-art-of-poetry-no-16-john-berryman] Stitt, Peter. John Berryman, The Art of Poetry, "The Paris Review", No. 53, Winter 1972. Another significant, if transitional figure was Adrienne Rich;Ousby 1998 pp. 199, pp.792 while one of the most prominent, consciously "confessional" poets to emerge in the 1980s was Sharon Olds whose focus on taboo sexual subject matter built on the work of Ginsberg.

But some contemporary modern poets produce plural bodies of work that combine the confessional mode with other core aspects of their output; this absorption of the confessional into a larger, more diverse oeuvre comes under the umbrella of 'Poeclectics',{{cite web|url=http://poetrymagazines.org.uk/magazine/record15da-2.html|title="Getting Involved" (article on Mario Petrucci by Mick Delap, in online publication of: Magma no.19; Winter 2001) |access-date=November 11, 2023|archive-url=http://web.archive.org/web/20231027204218/http://poetrymagazines.org.uk/magazine/record15da-2.html |archive-date=October 27, 2023 }} whereby confessionalism becomes, for certain poets, just one important strand in a writing approach that deploys "all kinds of style, subject, voice, register and form".[https://www.tandfonline.com/doi/abs/10.2167/new058.0 "Making Voices: Identity, Poeclectics and the Contemporary British Poet"], New Writing, The International Journal for the Practice and Theory of Creative Writing; Volume 3 (1); pp 66–77.

In the 1970s and 1980s many poets and writers, like Sharon Olds, Marie Howe, and Franz Wright, were strongly influenced by the precedent set by confessional poetry with its themes of taboo autobiographical experience, of the psyche and the self, and revelations of both childhood and adult traumas.

In an essay published in 1985 poet Stanley Kunitz wrote that Lowell's Life Studies was "perhaps the most influential book of modern verse since T. S. Eliot's The Waste Land."{{cite web|author=The Editors|title=Robert Lowell|url=http://www.poetryfoundation.org/bio/robert-lowell|access-date=2013-05-30|publisher=The Poetry Foundation}}Kunitz, Stanley. Next-to-Last Things: New Poems and Essays. Boston: Atlantic Monthly Press, 1985.

Artists such as Peter Gabriel, Morrissey, and Madonna have all described Sexton as being influential to their work.{{Cite magazine|last=Holmes|first=Tim|date=August 14, 1986|title=So|url=https://www.rollingstone.com/music/music-album-reviews/so-192251/|access-date=2022-02-14|magazine=Rolling Stone|language=en-US}}{{Cite web|date=March 22, 2015|title=Morrissey review – in shockingly good voice throughout|url=http://www.theguardian.com/music/2015/mar/22/morrissey-live-review-cardiff-observer-new-model|access-date=2022-02-14|website=the Guardian|language=en}}{{Cite web|title=Pop Sovereign: A Conversation With Madonna|url=https://pitchfork.com/features/interview/9604-pop-sovereign-a-conversation-with-madonna/|access-date=2022-02-14|website=Pitchfork|language=en}}

In a 1977 interview with The Paris Review, Richard Wilbur criticized confessional poetry, saying, "One of the jobs of poetry is to make the unbearable bearable, not by falsehood, but by clear, precise confrontation. Even the most cheerful poet has to cope with pain as part of the human lot; what he shouldn't do is to complain, and dwell on his personal mischance."Robert and Mary Bagg (2017), Let Us Watch Richard Wilbur: A Biographical Study, University of Massachusetts Press. Pages 222–223. Deep image poet Robert Bly made a similar criticism.Bly, Robert (translator), Machado, Antonio, Times Alone, Wesleyan University Press, 1983, {{ISBN|978-0-8195-6081-0}}, page 1.

Some literary critics of Confessional poets have noticed a shared ambition among many of these writers to become celebrities. In concurrence with the proliferation of popular culture during the 1950s, confessionalism offered readers a detailed view of the writer's personal hardships, and in light of the considerable public attention which confessional poets received, the confessional movement is seen by some literary critics as a form of celebrity culture.{{Cite journal|last=Blake|first=D. H.|date=April 1, 2001|title=Public Dreams: Berryman, Celebrity, and the Culture of Confession|journal=American Literary History|volume=13|issue=4|pages=716–736|doi=10.1093/alh/13.4.716|s2cid=170123684|issn=0896-7148}}

A literary movement called the language poets formed as a reaction against confessional poetry and took as their starting point the early modernist poetry composed by Gertrude Stein, William Carlos Williams, and Louis Zukofsky. Despite this, Language poetry has been called an example of postmodernism in American poetry.

By far the most controversial reaction against confessional poetry is known as New Formalism, which argues for the return to rhymed, metrical, and narrative poetry. New formalism began during the 1970s and early 80s when younger poets from the Baby Boom Generation began to fight against the dominance of both free verse and confessional poetry. In 1981, New Formalist poet R. S. Gwynn published The Narcissiad, which literary critic Robert McPhillips later dubbed, "a Popean mock epic lambasting contemporary poets".Robert McPhillips (2006), The New Formalism: A Critical Introduction, Textos Books. Page 98.

{{portal|Poetry}}

{{Columns-list|colwidth=22em|

• Anne Stevenson
• Beat poetry
• Catullus
• Confessional writing
• James Merrill
• Limit-experience
• Poète maudit
• Persona poetry
• Sappho
• Theodore Roethke

}}

{{reflist|2|}}

• {{Cite book|title=Cambridge paperback guide to literature .in English|url=https://archive.org/details/cambridgepaperba00ousb|url-access=registration|publisher=Cambridge University Press|date=1996|location=New York|isbn=0-521-43627-3|oclc=33078783|last=Ousby|first=Ian}}
• Kirsch, Adam, The Wounded Surgeon: Confession and Transformation in Six American Poets, W. W. Norton & Company, 2005.
• Rose, Jacqueline, The Haunting of Sylvia Plath, Virago Press, London, 1991. {{ISBN|978-1-85381-307-8}}.
• Rosenthal, M. L., The Modern Poets: A Critical Introduction New York: Oxford University Press, 1960 {{ISBN|0-19-500718-2}}
• Rosenthal, M. L., Our Life in Poetry: Selected Essays and Reviews, Persea Books, New York, 1991, {{ISBN|0-89255-149-6}}.
• Sherwin, Miranda, "Confessional" Writing and the Twentieth-Century Literary Imagination, London and New York: Palgrave Macmillan, 2011. {{ISBN|978-0-230-21956-4}}.

{{Schools of poetry}}

Category:Poetry movements

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Category:Sylvia Plath

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Category:American literary movements

Category:20th-century American literature