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THE MURIEL RUKEYSER ERA: War and Poetry (1945)

THE MURIEL RUKEYSER ERA
War and Poetry (1945)
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table of contents
  1. Cover
  2. Title
  3. Epigraph
  4. Contents
  5. Acknowledgments and Permissions
  6. List of Abbreviations
  7. Note on This Textual Edition
  8. Editors’ Introduction
    1. All You Have to Do Is Challenge Them: The Muriel Rukeyser Era, Eric Keenaghan and Rowena Kennedy-Epstein
  9. Author’s Introduction
    1. Biographical Statement for “Under Forty: A Symposium on American Literature and the Younger Generation of American Jews” (1944), Muriel Rukeyser
  10. PART I. THE USABLE TRUTH: FIVE TALKS ON COMMUNICATION AND POETRY
    1. 1. “The Fear of Poetry” (1940, 1941)
    2. 2. “The Speed of the Image” (1940)
    3. 3. “Belief and Poetry” (1940)
    4. 4. “Poetry and Peace” (1940)
    5. 5. “Communication and Poetry” (1940)
  11. PART II. TWENTIETH-CENTURY RADICALISM: ON POLITICS, SOCIETY, AND CULTURE
    1. 6. “The Flown Arrow: The Aftermath of the Sacco-Vanzetti Case” (1932)
    2. 7. “From Scottsboro to Decatur” (1933)
    3. 8. “Women and Scottsboro” (1933)
    4. 9. “Barcelona on the Barricades” (1936)
    5. 10. “Barcelona, 1936” (1936)
    6. 11. “Words and Images” (1943)
    7. 12. “War and Poetry” (1945)
    8. 13. “A Pane of Glass” (1953)
    9. 14. “She Came to Us” (1958)
    10. 15. “The Killing of the Children” (1973)
    11. 16. “The Uses of Fear” (1978)
  12. PART III. MEDIA AND DEMOCRATIC EDUCATION: A PHOTO-TEXT AND RADIO SCRIPTS
    1. 17. “So Easy to See” (1946), Photography-and-Text Collaboration with Berenice Abbott
    2. 18. From Sunday at Nine (1949), Scripts for Two Radio Broadcasts
      1. Series Introduction Episode One: Emily Dickinson
      2. Episode Four: The Blues
  13. PART IV. MODERNIST INTERVENTIONS: ON GENDER, POETRY, AND POETICS
    1. 19. “Modern Trends: American Poetry” (1932)
    2. 20. “Long Step Ahead Taken by Gregory in New Epic Poem” (1935), review of Horace Gregory’s Chorus for Survival
    3. 21. “In a Speaking Voice” (1939), review of Robert Frost’s Collected Poems
    4. 22. “The Classic Ground” (1941), review of Marya Zaturenska’s The Listening Landscape
    5. 23. “Nearer to the Well-Spring” (1943), review of Rainer Maria Rilke’s Sonnets to Orpheus
    6. 24. “A Simple Theme” (1949), review of Charlotte Marletto’s Jewel of Our Longing
    7. 25. “A Lorca Evening” (1951)
    8. 26. “Many Keys” (1957), on women’s poetry
    9. 27. “Lyrical ‘Rage’” (1957), review of Kenneth Rexroth’s In Defense of the Earth
    10. 28. “A Crystal for the Metaphysical” (1966), review of Marianne Moore’s Tell Me, Tell Me: Granite, Steel, and Other Topics
    11. 29. “Poetry and the Unverifiable Fact” (1968)
    12. 30. “The Music of Translation” (1971)
    13. 31. “Thoreau and Poetry” (1972)
    14. 32. “Glitter and Wounds, Several Wildnesses” (1973), review of Anne Sexton’s The Book of Folly
    15. 33. “The Life to Which I Belong” (1974), review of Franz Kafka’s Letters to Felice
    16. 34. “Women of Words: A Prefatory Note” (1974)
  14. Appendix: Bibliographic and Archival Information for Selections by Muriel Rukeyser
  15. Notes on Contributors
  16. Selected Bibliography
  17. Index
  18. Copyright

CHAPTER 12

War and Poetry (1945)

The subject of poetry cannot be restricted. There is no way to speak of war as a subject for poetry. War enters all our lives, but even that horror is only a beginning. The war is in our poetry only so far as it is in our imaginations, as a meaning, as a relationship, or simply as a fact. It has not been in much of our poetry because the meanings of this war have been lost; and through this the fashion in writing is aversion, wit, or easy mysticism and easy despair. We have been told by our governments—we have allowed our governments to tell us—to win the war first, and work out the meanings afterwards. This policy breeds more war, and nothing else.

For myself, war has been in my writing since I began. The first public day that I remember was the False Armistice of 1918.1 And now the terms “soft peace,” “hard peace,” that are being passed as currency seem to me only other words for war, and war seems to me the after-image of many failures to react to truth at the time that truth first happens. We confess by this war that we did not react to fascism as it arrived. But now the fact that it might be a war against fascist ideas has slipped away. So that the war for those concerned with life, the truth which is open to all, is still ahead. It is a struggle in which poetry also lives and fights.

A poet said to me, “You bring the world in too much. Poems should not be written about the war. Are you not afraid of guessing wrong?” I deny all of this. Again, I do not believe in any rule about the subject of poetry. If you do not love the world, you become the slave of the world. As for guessing wrong, I am not afraid of that. The war I think of is the common fight that is going on, the old same war, the struggle that gives these wars a touch of life—a fight which expresses itself in many ways among the people, always to make more freedom accessible to all. Peace, it seems to me, is not the lack of fighting. I want an end to false armistice. Peace, I think, is the force that works for creation and freedom, that fights war. I want that. I want peace which is a way in which peoples can work together for a wide creative life. I believe that poetry is a part of that, of the means which is peace, and of the living changing goal.

(The War Poets, 1945)


1. On November 7, 1918, when Rukeyser was almost five years old, premature reports spread about a peace agreement between the Allies and Germany. The Great War officially ended four days later, when an armistice was signed.

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