In a marvellous Tukwila, Washington used bookstore the other week I picked up a copy of Yvor Winters’ Uncollected Essays and Reviews for $2.99. I am glad I did because it sure was worth it. I would have been happy to have paid five.

Winters was a Stanford University English Professor and a literary critic and moralist. Long after he passed away, in the 1980s graduate students like myself could leaf through his bound and yellowing PhD dissertation in the Briggs Room library (I was the librarian) in Building 50 next to Memorial Church on the quad. We all read Winters, particularly his book In Defense of Reason, if only to disparage his conviction that a poem should be a rational statement of an abiding human truth. We were more amenable to his discussions of prosody, but could not help but find him often wanting there as well.

As a reader of American poets of the early 20th century, Yvor Winters’ views went from testy to lacerating and back again. I enjoyed his limpid prose. And I certainly enjoyed some of his take-downs of silly poems and poets.

Most interesting to me were his discussions of William Carlos Williams, who was the subject of my first scholarly publication. His ambivalence was all-out, as if he had fallen in love with a drug dealer. This is from an essay called “Poetry of Feeling” found in the Uncollected Essays:

The romantic principles which have governed Dr. Williams’ work have limited his scope. … The combination of purity and of richly human feeling to be found in his language at times reminds one of Thomas Hardy or of Robert Bridges, and of beauty and of execution he is their equal, though in so different a mode; but his understanding is narrow than theirs, and his best poems are less great. On the other hand, when poems are so nearly unexceptionable in their execution, one regards the question of scope regretfully: Robert Herrick is less great than Shakespeare, but he is probably as fine, and, God willing, should last as long. If I may venture … a prediction, it is this: that Williams will prove as nearly indestructible as Herrick; that the end of the present century will see him securely established, along with Wallace Stevens, as one of the two best poets of his generation.

Winters wrote a “postscript” to this piece 25 years later, not long before he died:

My general remarks may stand, but by this time, I would restrict my choice of successful poems much more narrowly. … To say that Williams was anti-intellectual would be almost an exaggeration: he did not know what the intellect was. He was a foolish and ignorant man, but at moments a fine stylist.

“But at moments.”

I find this postscript terribly poignant: What had happened to Professor Winters that permitted scorn to upend his aesthetic attentiveness and delight for work he had loved truly, if never with the wholeness of ease?

–

“No love deserves the death it has.” – Jack Spicer