Abstract
When Duncan returned in 1972 to Caesar’s Gate (1955), a book of poems written mainly in 1949 and 1950 (with collages by Jess), he resurrected an earlier work that he had all but repudiated.1 The new Caesar’s Gate has received little critical attention, which is unfortunate because it tells much about Duncan’s state of mind while he was working on his crucial late book, Ground Work: Before the War? In 1970 he suffered the loss of Charles Olson, the poet whom he regarded as the standard-bearer for his generation. At the same time, Duncan, like Whitman during the Civil War, regarded the ravages of the Vietnam War as an attack upon his own person—identifying with the national body and its fateful implication in an imperial war wreaking havoc on Southeast Asia and the United States alike. Another casualty of the war, his profoundly nurturing fellowship with Denise Levertov entered a destructive maelstrom, provoked by disagreement over the proper relationship among poetry, protest, and war. Even more intimately, the Vietnam War provided the occasion for a long-buried source of grief in Duncan’s life to rear its head: contemplating the war caused the homosexual poet to mourn the loss of a son he never had. Reaching more than twenty years into the past to the beginnings of the cold war, Duncan revived the forgotten book Caesar’s Gate as part of the work of moving beyond his Black Mountain period (which had ended with Olson’s death); he engaged the earlier, unresolved encounter with thanatos exuberantly, intuiting that it would lead him to a poetry of maturity.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Similar content being viewed by others
Notes
Robert Duncan, Caesar’s Gate: Poems 1949–50, illus. Jess (Mallorca: Divers Press, 1955; [Berkeley, CA]: Sand Dollar, 1972).
Robert Duncan, “The Venice Poem,” in The First Decade: Selected Poems 1940–1950 (London: Fulcrum Press, 1968), 81–107.
The impact of his homosexuality on Duncan’s poetry and poetics forms a major topic of critical commentary. For particularly nuanced views, see Michael Davidson, “Marginality in the Margins: Robert Duncan’s Textual Politics,” in Ghostlier Demarcations: Modern Poetry and the Material Word (Berkeley: University of California Press, 1997), 171–95
Greg Hewett, “Revealing ‘The Torso’: Robert Duncan and the Process of Signifying Male Homosexuality,” Contemporary Literature 35, no. 3 (1994): 522–46
Eric Keenaghan, “Vulnerable Households: Cold War Containment and Robert Duncan’s Queered Nation,” Journal of Modern Literature 28, no. 4 (2005): 57–90.
Thom Gunn, “Homosexuality in Robert Duncan’s Poetry,” in Robert Duncan: Scales of the Marvelous, ed. Robert J. Bertholf and Ian W. Reid (New York: New Directions, 1979), 148
Bruce Boone, “Robert Duncan and Gay Community: A Reflection,” Lronwood 22 (Fall 1983): 66–82.
Robert Duncan, The Opening of the Field (New York: Grove Press, 1960).
Walt Whitman, Leaves of Grass, ed. Sculley Bradley and Harold W Blodgett (New York: W W Norton, 1973), 304.
Federico Garcia Lorca, Poet in New York, rev. ed., trans. Greg Simon and Steven F. White, ed. Christopher Maurer (New York: Farrar, Straus and Giroux, 1998). Abbreviated as PNY.
Spicer translates Lorca’s “Ode to Walt Whitman” in After Lorca, reprinted in Jack Spicer, My Vocabulary Did This to Me: The Collected Poetry of Jack Spicer, ed. Peter Gizzi and Kevin Killian (Middletown, CT: Wesleyan University Press, 2008), 28–31.
D. H. Lawrence, Selected Poems, ed. Kenneth Rexroth (New York: Viking, 1959), 62.
See discussions of the Atlantis dream in Michael Davidson, “A Book of First Things: The Opening of the Field” in Robert Duncan: Scales of the Marvelous, ed. Robert J. Bertholf and Ian W Reid (New York: New Directions, 1979), 57–61
Peter O’Leary, Gnostic Contagion: Robert Duncan and the Poetry of Illness (Middletown, CT: Wesleyan University Press, 2002), 85–92, 95–96.
See Daniel Kane, “The Transformative Sacrament of Homosexual Sex: Kenneth Anger’s Fireworks, Robert Duncan’s ‘The Torso,’ and the Enactment of Ritual,” Talisman 32–33 (July 2006): 18–26, for a discussion of “Passages” 18, 19, and 20 as responses to Anger’s Fireworks (1947). Fireworks is referenced explicitly in these poems, but they, and “Passages 17,” also draw from Duncan’s viewing of other films by Anger.
Denise Levertov, “Some Duncan Letters—A Memoir and a Critical Tribute,” in New & Selected Essays (New York: New Directions, 1992), 194–230.
Abbreviated as “SDL.” See Albert Gelpi and Robert J. Bertholf, eds., Robert Duncan and Denise Levertov: The Poetry of Politics, the Politics of Poetry (Stanford, CA: Stanford University Press, 2006), for discussions of their relationship and of the controversy that caused it to unravel.
See John Kotre, Outliving the Self: Generativity and the Interpretation of Lives (Baltimore: Johns Hopkins University Press, 1984), for an attempt to work out a theory of generativity.
Thanks to Duncan’s new biographer, Lisa Jarnot, for alerting me to these points. The fact of the abortion is corroborated in Ekbert Faas, Young Robert Duncan: Portrait of the Poet as Homosexual in Society (Santa Barbara, CA: Black Sparrow Press, 1983), 139.
Allen Ginsberg, Collected Poems: 1947–1997 (New York: HarperCollins, 2006), 292.
Editor information
Copyright information
© 2011 James Maynard
About this chapter
Cite this chapter
Fredman, S. (2011). Before Caesar’s Gate, Robert Duncan Comes to Grief: The Vietnam War and the “Unengendered Child”. In: Maynard, J. (eds) (Re:)Working the Ground. Modern and Contemporary Poetry and Poetics. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230119932_5
Download citation
DOI: https://doi.org/10.1057/9780230119932_5
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-29099-4
Online ISBN: 978-0-230-11993-2
eBook Packages: Palgrave Literature CollectionLiterature, Cultural and Media Studies (R0)