A. R. Ammons
Archibald Randolph Ammons (February 18, 1926 – February 25, 2001) was an American poet who won the annual National Book Award for Poetry in 1973 and 1993.
Ammons wrote about humanity's relationship to nature in alternately comic and solemn tones. His poetry often addresses religious and philosophical matters and scenes involving nature, almost in a Transcendental fashion. According to reviewer Daniel Hoffman, his work "is founded on an implied Emersonian division of experience into Nature and the Soul," adding that it "sometimes consciously echo[es] familiar lines from Emerson, Whitman and Dickinson.
During the five decades of his poetic career, Ammons was the recipient of many awards and citations. Among his major honors are the 1973 and 1993 U.S. National Book Awards (for Collected Poems, 1951-1971 and for Garbage);[1][2] the Wallace Stevens Award from the Academy of American Poets (1998); and a MacArthur Fellowship in 1981, the year the award was established.[7][12]
Ammons's other awards include a 1981 National Book Critics Circle Award for A Coast of Trees;[13] a 1993 Library of Congress Rebekah Johnson Bobbitt National Prize for Poetry for Garbage; the 1975 Bollingen Prize for Sphere; the Poetry Society of America's Robert Frost Medal; the Ruth Lilly Prize; and fellowships from the Guggenheim Foundation and the American Academy of Arts and Letters.He was elected a Fellow of the American Academy of Arts and Sciences in 1978.
Many readers and critics have noted Ammons's idiosyncratic approach to punctuation. Lehman has written that Ammons "bears out T. S. Eliot's observation that poetry is a 'system of punctuation'." Instead of periods, some poems end with an ellipsis; others have no terminal punctuation at all. The colon is an Ammons "signature"; he uses it "as an all-purpose punctuation mark."
According to critic Stephanie Burt, in many poems Ammons combines three types of diction:
A "normal" range of language for poetry, including the standard English of educated conversation and the slightly rarer words we expect to see in literature ("vast," "summon," "universal").
A demotic register, including the folk-speech of eastern North Carolina, where he grew up ("dibbles"), and broader American chatter unexpected in serious poems ("blip").
The Greek- and Latin-derived phraseology of the natural sciences ("millimeter," "information of actions / summarized"), especially geology, physics, and cybernetics.
Such a mixture is nearly unique, Burt says; these three modes are "almost never found together outside his poems".
In contrast, critic J. Mark Smith notes that in long poems such as Garbage, with their "improvised, no-stopping, 'one-time event' compositional procedures," "Ammons works with a continuum of utterance whose central furrows are the most frequently repeated words and phrases in the contemporary American vulgate, but whose far outcastings register the faintest traces of anomalous use." That is, Ammons subjected his own poetic style and its relation to contemporary speech to considerable scrutiny. As Smith puts it, "Ammons's premise is that the process of sorting and grouping (or abstracting) that produces what we commonly call 'garbage' also powers the appearances, disappearances, and re-appearances of words."
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