Stanford
(1913-1998) went on to teach English at Louisiana State University and served
as co-editor of Southern Review from 1965
to 1982. Winters’ brief essay on his poems is typically tart, and begins like
this:
“Don
Stanford’s chief deficiency is one common to his years and to our period: He
has not yet mastered his subject matter. That is, his thinking is occasionally
erratic, and he sometimes fails to apprehend the relationship between idea and
action or else succeeds in misapprehending it in some small measure but with a
fervor and rhetorical force so considerable as almost to mislead even the skeptical
reader.”
The
cool, forthright manner of these sentences, and the critical certainties that
lie behind them, are so alien to the ingrown world of poetry in 2014 as to almost
require translation. Winters is writing about one of his students, one he
wishes to praise, encourage and share with readers. But he was constitutionally
incapable of writing fluff. He was allergic to empty superlatives and couldn’t
have blurbed on a bet. The praise, carefully prepared for, comes much later.
Winters groups Stanford with Cunningham, James Agee and Barbara Gibbs
(Cunningham’s future wife, the first of three) and says they have written “the
best poetry thus far produced by the American and English poets now in their
twenties [Winters turned thirty-five in 1935], or at least so far as I have
examined and can judge it.” No cant, no puffery. In contrast, another Winters
student and founding member of the Stanford School, Howard Baker, sounds almost
fulsome when he writes of Cunningham (who was twenty-four): “…his really
extraordinary command over his craft comes out best probably in `Retreating
Friendship,’ which, because of the perfection in phrasing, is brilliant,
complex and powerful.” Here is that poem, selected by Winslow:
“Our
testament had read:
Affection
is secure;
It
is not forced or led.
No
longer sure
“Of
hallowed certainty,
I
have erased the mind,
As
mendicants who see
Mimic
the blind.”
It
was Cunningham’s first published poem, appearing in the February 1932 issue of The Commonweal. He later retitled it “In
Innocence” and revised two lines. “Our testament had read:” became “In innocence
I said,” and the fifth line, “Of hallowed certainty,” became “Of the least
certainty” – both improvements for reasons of terseness and what Baker calls “abruptness
of wit.” The mature Cunningham left the punch of the final two lines intact.
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