Merwin's newest spans 50 years

MIGRATION: NEW & SELECTED POEMS, by W.S. Merwin, Copper Canyon Press, 545 pages, $40.

Few poets are honored by the publication of such a large body of work as W.S. Merwin.

In an impressive career that spans more than 50 years, Merwin was initially lauded for his "technical virtuosity," and his early poems were often formal, even neoclassical in style. But the next decade saw his work evolve into poetry with very bright imagery. Afterward, he began to explore even more diverse approaches that embraced indirect narration and experimentation.

He was practicing the latter form when he won the Pulitzer Prize for "The Carrier of Ladders" in 1970. His later work has transformed some of his earlier themes in original ways.

The poems he has selected for "Migration" come from 15 varied volumes, and they represent those he considers his most important work.

There is a huge difference between "A Mask for Janus" (1952), his first book, and "The Pupil" (2001). Following the progression of his work suggests a migration of his own -- his determination to improve in every possible way over the span of years.

Critics say his language is more pure and his ideas have become more intricate. Most notably, he has developed the ability to write without the formal restrictions expected of most poets -- poetry without punctuation and without limitation.

"Migration" begins with "A Mask for Janus" (1952) and progresses to "The Carrier of Ladders" (1970), the first major shift in his style, as punctuation disappears, the lines shorten, the meter varies and patterns become unpredictable. It becomes apparent that the emphasis on sound -- and sometimes italics -- gives a new personal direction and depth to the poems.

This is definitely a volume that needs to be read aloud -- preferably by the poet -- to get the maximum benefit.

Highlights include "Writings to an Unfinished Accompaniment," (1973) in which many of the poems concentrate on objects and animals; "The Rain in the Trees" (1988), which focuses on water, trees and romance; "Travels" (1993), offering a geographical take on many different places, including segments of Europe, Greece, even New Jersey; and "The Lives of Artists."

None of Merwin's work is intimidating. It invites the reader to reflect, contemplate, feel, listen, imagine, remember, learn and interact about a host of life's pleasures and challenges, including nature, romance, human companionship and history. His work feels open to all, impressionistic -- not carved in stone but new and different, depending on the reader.

"The Pupil" presents times of shadow, darkness, light, a calling, downstream, even an ode to the death of fellow poet Ted Hughes: "half the sentences flying unfinished . . . we were going to catch up with some of the sentences . . . to shake them out again and listen."

"Listen" -- that's the magic word.

Merwin's marvelous verse, his colorful images, his gift with vocabulary, must be heard, not just read.

E-mail: dennis@desnews.com

Copyright C 2005 Deseret News Publishing Co.
Provided by ProQuest Information and Learning Company. All rights Reserved.