|
|
加里·斯奈德(Gary Snyder,1930-),是20世纪美国著名诗人、散文家、翻译家、禅宗信徒、环保主义者、BG代表人物之一，2003年他当选为美国诗人学院院士，先后出版有十六卷诗文集，《龟岛》获得了1975年度普利策诗歌奖。斯奈德是是“垮掉派”目前少数仅存的硕果之一，也是这个流派中诗歌成就较大的诗人。
个人简介
加里·斯奈德（1930 -）
加里·斯奈德，生于旧金山，早年移居到美国西北部，在他父母的农场工作，1951毕业于里德学院，获得文学和人类学学位，后来进入加利福尼亚大学攻读东方语言文学，并在此间参加垮掉派诗歌运动，此时他翻译的寒山诗对他产生了很大影响，致使他东渡日本（1956—1968），出家为僧三年，醉心于研习禅宗，1969年回到美国后，与他的日本妻子定居于加利福尼亚北部山区，过着非常简朴的生活。1984年，加里·?斯奈德与美国著名诗人艾伦·金斯伯格（Allen Ginsberg）作为美国作家代表团的成员一起来中国访问，终于一圆他30年来的亲临“中央王国”之梦。加里·斯奈德曾说，中国文化、文学对他的影响，在五六十年代是百分之八十。1985年他成为加利福尼亚大学戴维斯分校的教授，同时继续广泛地游历、阅读和讲学，并致力于环境保护。
个人文集
2003年他当选为美国诗人学院院士。他先后出版了十六卷诗文集，主要有
《砌石与寒山诗》?(Riprap and Cold Mountain Poems)(1965）、
《山水无尽头》（Mountains and Rivers Without End)(1965）、
《龟岛》（Turtle lsland)(1974）、
《留在雨中：1947年至1985年未发表的诗》（Left Out in the Rain:New Poems 1947-1985)(1986）等多卷、
《神话与文本》（1960）、《僻野》（1968）、《观浪》（1970）、《斧柄》（1983)
《没有自然：新诗选》（1993）、《无终的山水》（1997）、《加里·斯奈德读本》（1999）等多卷。
散文包括：
《大地家族：对即将到来的佛教革命的扣问与记录》
（Earth House Hold:Technical Notes & Queries for Fellow Dharma Revolutionaries)(1999）、
《真正的工作：1964年至1979年间的访谈》（The Real Work:Interviews & Talks1964-1979)(1980）等
所获奖项
《龟岛》获得了1975年度普利策诗歌奖。
1997年，获得伯利根诗歌奖（Bollingen Poetry Prize）和约翰·黑自然书写奖（John Hay Award for NatureWriting）。
所属流派
斯奈德是是“垮掉派”目前少数仅存的硕果之一，也是这个流派中诗歌成就较大的诗人。但是，跟“垮掉派”其他诗人的张狂相比，他显得比较内敛，其作品的风格也有所不同。他是清晰的沉思的大师，深受中国文化的影响，翻译过寒山的诗，所以喜欢沉浸于自然，在大自然中，他既是劳动者也是思考者，因此他的诗“更加接近于事物的本色以对抗我们时代的失衡、紊乱及愚昧无知”。
加里·斯奈德的很多诗歌创作，从立意到取材，从文法到修辞，无不透露出浓浓的“中国风味”，可以说是具有中国文学“文心”的一代文学巨匠。首先，加里·斯奈德的诗歌创作立意多涉及人与自然的亲密无间的关系，且风格冲淡，极具中国古典诗歌之神韵。如收入《龟岛》中的《松树冠》（Pine Tree Tops）一诗：
in the blue night 在蓝色的夜里
frost haze,the sky glows 微霜，天空散着微光
with the moon 月儿明
Pine tree tops bend snow-blue低垂的松冠雪蓝，
fade into sky,frost,starlight. 融入天空，霜，星光
the creak of boots，靴响嘎然
rabbit tracks,deer tracks, 兔的足迹，鹿的踪影
what do we know.②? 我们怎能知道?
该诗前六行为写景，叙述者隐而不见，景物完全按照自己的气韵律动自然呈现。蓝色的夜空笼罩着淡淡的雾气，月光泻下，星光满天，平添一层朦胧。松冠上盖着一层薄霜，在蓝天的映衬下，月辉呈现出一抹淡蓝色的弧线，融入背景之中。和谐静谧、朦胧虚幻的画面渲染了中国古典诗歌中虚、静的意境。第七行引入人的活动，但空山不见人，只闻“靴响嘎然”，表现了自我在自然中的虚化，而这寂中之音更烘托出幽幽的虚静。且“靴响嘎然”与“兔的足迹，鹿的踪影”并置呼应，暗示着人与自然中的其他生命之和谐共存，体现了与物齐的观念。在这种空灵玄静 ……
创作风格
斯奈德身体力行地实现了“返回自然”的主张。“作为一个诗人，”他这样说过，“我依然把握着那最古老的价值观，它们可以追溯到旧石器时代晚期：土地的肥沃，动物的魅力，与世隔绝的孤寂中的想象力，令人恐怖的开端与再生，爱情以及对舞蹈艺术的心醉神迷，部落里最普通的劳动。我力图将历史与那大片荒芜的土地容纳到心里，这样，我的诗或许更可接近于事物的本色以对抗我们时代的失衡、紊乱及愚昧无知。”这使斯奈德在美国当代诗坛中独树一帜，引人瞩目。他的诗质朴简练而富有智慧和洞察力。1975年他以诗集《龟岛》获得普利策奖。有不少人认为他是五十年代垮掉派诗人中至今创作成就最大的诗人。
Life and career
Early life
Gary Sherman Snyder was born in San Francisco, California to Harold and Lois Hennessy Snyder. Snyder is of German, Scottish, Irish and English ancestry. His family, impoverished by the Great Depression, moved to King County, Washington, when he was two years old. There, they tended dairy cows, kept laying hens, had a small orchard, and made cedar-wood shingles. At the age of seven, Snyder was laid up for four months by an accident. "So my folks brought me piles of books from the Seattle Public Library," he recalled in interview, "and it was then I really learned to read and from that time on was voracious — I figure that accident changed my life. At the end of four months, I had read more than most kids do by the time they're eighteen. And I didn't stop." Also during his ten childhood years in Washington, Snyder became aware of the presence of the Coast Salish people and developed an interest in the Native American peoples in general and their traditional relationship with nature.
In 1942, following his parents' divorce, Snyder moved to Portland, Oregon with his mother and his younger sister, Anthea. Their mother, Lois Snyder Hennessy (born Wilkey), worked during this period as a reporter for The Oregonian. One of Gary's boyhood jobs was as a newspaper copy boy, also at the Oregonian. Also, during his teen years, he attended Lincoln High School, worked as a camp counselor, and went mountain climbing with the Mazamas youth group. Climbing remained an interest of his, especially during his twenties and thirties. In 1947, he started attending Reed College on a scholarship. Here he met, and for a time, roomed with the education author Carl Proujan; and became acquainted with Philip Whalen and Lew Welch. During his time at Reed, Snyder published his first poems in a student journal. In 1948, he spent the summer working as a seaman. To get this job, he joined the now defunct Marine Cooks and Stewards union, and would later work as a seaman in the mid-1950s to gain experience of other cultures in port cities. Snyder married Alison Gass in 1950; however, they separated after seven months, and divorced in 1952.
While attending Reed, Snyder did folklore research on the Warm Springs Indian Reservation in central Oregon. He graduated with a dual degree in anthropology and literature in 1951. Snyder's senior thesis, entitled The Dimensions of a Myth, employed perspectives from anthropology, folklore, psychology, and literature to examine a myth of the Pacific Northwest's Haida people. He spent the following few summers working as a timber scaler at Warm Springs, developing relationships with its people that were less rooted in academia. This experience formed the basis for some of his earliest published poems (including "A Berry Feast"), later collected in the book The Back Country. He also encountered the basic ideas of Buddhism and, through its arts, some of the Far East's traditional attitudes toward nature. He went to Indiana University with a graduate fellowship to study anthropology. (Snyder also began practicing self-taught Zen meditation.) He left after a single semester to return to San Francisco and to 'sink or swim as a poet'. Snyder worked for two summers in the North Cascades in Washington as a fire lookout, on Crater Mountain in 1952 and Sourdough Mountain in 1953 (both locations on the upper Skagit River). His attempts to get another lookout stint in 1954 (at the peak of McCarthyism), however, failed. He had been barred from working for the government, due to his association with the Marine Cooks and Stewards. Instead, he went back to Warm Springs to work in logging as a choker setter (fastening cables to logs). This experience contributed to his Myths and Texts and the essay Ancient Forests of the Far West.
The Beats
Back in San Francisco, Snyder lived with Whalen, who shared his growing interest in Zen. Snyder's reading of the writings of D. T. Suzuki had in fact been a factor in his decision not to continue as a graduate-student in anthropology, and in 1953 he enrolled at the University of California, Berkeley to study Asian culture and languages. He studied ink and wash painting under Chiura Obata and Tang dynasty poetry under Ch'en Shih-hsiang. Snyder continued to spend summers working in the forests, including one summer as a trail-builder in Yosemite. He spent some months in 1955 and 1956 living in a cabin (which he dubbed "Marin-an") outside Mill Valley, California with Jack Kerouac. It was also at this time that Snyder was an occasional student at the American Academy of Asian Studies, where Saburō Hasegawa and Alan Watts, among others, were teaching. Hasegawa introduced Snyder to the treatment of landscape painting as a meditative practice. This inspired Snyder to attempt something equivalent in poetry, and with Hasegawa's encouragement, he began work on Mountains and Rivers without End, which would be completed and published forty years later. During these years, Snyder was writing and collecting his own work, as well as embarking on the translation of the "Cold Mountain" poems by the 8th-century Chinese recluse Han Shan; this work appeared in chapbook-form in 1959, under the title Riprap & Cold Mountain Poems.
Snyder met Allen Ginsberg when the latter sought Snyder out on the recommendation of Kenneth Rexroth. Then, through Ginsberg, Snyder and Kerouac came to know each other. This period provided the materials for Kerouac's novel The Dharma Bums, and Snyder was the inspiration for the novel's main character, Japhy Ryder, in the same way Neal Cassady had inspired Dean Moriarty in On the Road. As the large majority of people in the Beat movement had urban backgrounds, writers like Ginsberg and Kerouac found Snyder, with his backcountry and manual-labor experience and interest in things rural, a refreshing and almost exotic individual. Lawrence Ferlinghetti later referred to Snyder as 'the Thoreau of the Beat Generation'.
Snyder read his poem "A Berry Feast" at the poetry reading at the Six Gallery in San Francisco (October 7, 1955) that heralded what was to become known as the San Francisco Renaissance. This also marked Snyder's first involvement with the Beats, although he was not a member of the original New York circle, but rather entered the scene through his association with Kenneth Rexroth. As recounted in Kerouac's Dharma Bums, even at age 25 Snyder felt he could have a role in the fateful future meeting of West and East. Snyder's first book, Riprap, which drew on his experiences as a forest lookout and on the trail-crew in Yosemite, was published in 1959.
Japan and India
Independently, some of the Beats, including Philip Whalen, had become interested in Zen, but Snyder was one of the more serious scholars of the subject among them, preparing in every way he could think of for eventual study in Japan. In 1955, the First Zen Institute of America offered him a scholarship for a year of Zen training in Japan, but the State Department refused to issue him a passport, informing him that "it has been alleged you are a Communist." A subsequent District of Columbia Court of Appeals ruling forced a change in policy, and Snyder got his passport. In the end, his expenses were paid by Ruth Fuller Sasaki, for whom he was supposed to work; but initially he served as personal attendant and English tutor to Zen abbot Miura Isshu, at Rinko-in, a temple in Shokoku-ji in Kyoto, where Dwight Goddard, Buddhism in the United States and R. H. Blyth had preceded him. Mornings, after zazen, sutra chanting, and chores for Miura, he took Japanese classes, bringing his spoken Japanese up to a level sufficient for kōan study. He developed a friendship with Philip Yampolsky, who took him around Kyoto. In early July 1955, he took refuge and requested to become Miura's disciple, thus formally becoming a Buddhist.
He returned to California via the Persian Gulf, Turkey, Sri Lanka and various Pacific Islands, in 1958, voyaging as a crewman in the engine room on the oil freighter Sappa Creek, and took up residence at Marin-an again. He turned one room into a zendo, with about six regular participants. In early June, he met the poet Joanne Kyger. She became his girlfriend, and eventually his wife. In 1959, he shipped for Japan again, where he rented a cottage outside Kyoto. He became the first foreign disciple of Oda Sesso Roshi, the new abbot of Daitoku-ji. He married Kyger on February 28, 1960, immediately after her arrival, which Sasaki insisted they do, if they were to live together and be associated with the First Zen Institute of America. Snyder and Joanne Kyger were married from 1960 to 1965.
During the period between 1956 and 1969, Snyder went back and forth between California and Japan, studying Zen, working on translations with Ruth Fuller Sasaki, and finally living for a while with a group of other people on the small, volcanic island of Suwanosejima. His previous study of written Chinese assisted his immersion in the Zen tradition (with its roots in Tang Dynasty China) and enabled him to take on certain professional projects while he was living in Japan. Snyder received the Zen precepts and a dharma name (Chofu, "Listen to the Wind"), and lived sometimes as a de facto monk, but never registered to become a priest and planned eventually to return to the United States to 'turn the wheel of the dharma'. During this time, he published a collection of his poems from the early to mid '50s, Myths & Texts (1960), and Six Sections from Mountains and Rivers Without End (1965). This last was the beginning of a project that he was to continue working on until the late 1990s. Much of Snyder's poetry expresses experiences, environments, and insights involved with the work he has done for a living: logger, fire-lookout, steam-freighter crew, translator, carpenter, and itinerant poet, among other things. During his years in Japan, Snyder was also initiated into Shugendo, a form of ancient Japanese animism, (see also Yamabushi). In the early 1960s he traveled for six months through India with his wife Joanne, Allen Ginsberg, and Peter Orlovsky. Snyder and Joanne Kyger separated soon after a trip to India, and divorced in 1965.
Dharma Bums
In the 1950s, Snyder took part in the rise of a strand of Buddhist anarchism emerging from the Beat movement. Snyder was the inspiration for the character Japhy Ryder in Jack Kerouac's novel The Dharma Bums (1958). Snyder had spent considerable time in Japan studying Zen Buddhism, and in 1961 published an essay, "Buddhist Anarchism", where he described the connection he saw between these two traditions, originating in different parts of the world: "The mercy of the West has been social revolution; the mercy of the East has been individual insight into the basic self/void." He advocated "using such means as civil disobedience, outspoken criticism, protest, pacifism, voluntary poverty and even gentle violence" and defended "the right of individuals to smoke ganja, eat peyote, be polygymous, polyandrous or homosexual" which he saw as being banned by "the Judaeo-Capitalist-Christian-Marxist West".
Kitkitdizze
In 1966, Snyder joined Allen Ginsberg, Zentatsu Richard Baker, Roshi of the San Francisco Zen Center, and Donald Walters, a.k.a. "Swami Kriyananda," to buy 100 acres (0.40 km2) in the Sierra foothills, north of Nevada City, California. In 1970, this would become his home, with the Snyder family's portion being named Kitkitdizze. Snyder spent the summers of 1967 and 1968 with a group of Japanese back-to-the-land drop-outs known as "the Tribe" on Suwanosejima (a small Japanese island in the East China Sea), where they combed the beaches, gathered edible plants, and fished. On the island, on August 6, 1967, he married Masa Uehara, whom he had met in Osaka a year earlier. In 1968, they moved to California with their infant son, Kai (born April 1968). Their second son, Gen, was born a year later. In 1971, they moved to the San Juan Ridge in the foothills of the Sierra Nevada of Northern California, near the South Yuba River, where they and friends built a house that drew on rural-Japanese and Native-American architectural ideas. In 1967 his book The Back Country appeared, again mainly a collection of poems stretching back over about fifteen years. Snyder devoted a section at the end of the book to his translations of eighteen poems by Kenji Miyazawa.
Later life and writings
Regarding Wave appeared in January 1970, a stylistic departure offering poems that were more emotional, metaphoric, and lyrical. From the late 1960s, the content of Snyder's poetry increasingly had to do with family, friends, and community. He continued to publish poetry throughout the 1970s, much of it reflecting his re-immersion in life on the American continent and his involvement in the back-to-the-land movement in the Sierra foothills. His 1974 book Turtle Island, titled after a Native American name for the North American continent, won a Pulitzer Prize. It also influenced numerous West Coast Generation X writers, including Alex Steffen, Bruce Barcott and Mark Morford. His 1983 book Axe Handles, won an American Book Award. Snyder wrote numerous essays setting forth his views on poetry, culture, social experimentation, and the environment. Many of these were collected in Earth House Hold (1969), The Old Ways (1977), The Real Work (1980), The Practice of the Wild (1990), A Place in Space (1995), and The Gary Snyder Reader (1999). In 1979, Snyder published He Who Hunted Birds in His Father's Village: The Dimensions of a Haida Myth, based on his Reed thesis. Snyder's journals from his travel in India in the mid-1960s appeared in 1983 under the title Passage Through India. In these, his wide-ranging interests in cultures, natural history, religions, social critique, contemporary America, and hands-on aspects of rural life, as well as his ideas on literature, were given full-blown articulation.
In 1986, Snyder became a professor in the writing program at the University of California, Davis. Snyder is now professor emeritus of English.
Snyder was married to Uehara for twenty-two years; the couple divorced in 1989. Snyder married Carole Lynn Koda (October 3, 1947 – June 29, 2006), who would write Homegrown: Thirteen brothers and sisters, a century in America, in 1991, and remained married to her until her death of cancer. She had been born in the third generation of a successful Japanese-American farming family, noted for its excellent rice. She shared Buddhism, extensive travels, and work with Snyder, and performed independent work as a naturalist.
As Snyder's involvement in environmental issues and his teaching grew, he seemed to move away from poetry for much of the 1980s and early 1990s. However, in 1996 he published the complete Mountains and Rivers Without End, a mixture of the lyrical and epic modes celebrating the act of inhabitation on a specific place on the planet. This work was written over a 40-year period. It has been translated into Japanese, French and Russian. In 2004 Snyder published Danger on Peaks, his first collection of new poems in twenty years.
Snyder was awarded the Levinson Prize from the journal Poetry, the American Poetry Society Shelley Memorial Award (1986), was inducted into the American Academy of Arts and Letters (1987), and won the 1997 Bollingen Prize for Poetry and, that same year, the John Hay Award for Nature Writing. Snyder also has the distinction of being the first American to receive the Buddhism Transmission Award (for 1998) from the Japan-based Bukkyo Dendo Kyokai Foundation. For his ecological and social activism, Snyder was named as one of the 100 visionaries selected in 1995 by Utne Reader.
Snyder's life and work was celebrated in John J. Healy's 2010 documentary The Practice of the Wild. The film, which debuted at the 53rd San Francisco International Film Festival, features wide-ranging, running conversations between Snyder and poet, writer and longtime colleague Jim Harrison, filmed mostly on the Hearst Ranch in San Simeon, California. The film also shows archival photographs and film of Snyder's life.
Work
Poetics
Gary Snyder uses mainly common speech-patterns as the basis for his lines, though his style has been noted for its "flexibility" and the variety of different forms his poems have taken. He typically uses neither conventional meters nor intentional rhyme. "Love and respect for the primitive tribe, honour accorded the Earth, the escape from city and industry into both the past and the possible, contemplation, the communal", such, according to Glyn Maxwell, is the awareness and commitment behind the specific poems.
The author and editor Stewart Brand once wrote: "Gary Snyder's poetry addresses the life-planet identification with unusual simplicity of style and complexity of effect." According to Jody Norton, this simplicity and complexity derives from Snyder's use of natural imagery (geographical formations, flora, and fauna) in his poems. Such imagery can be both sensual at a personal level yet universal and generic in nature. In the 1968 poem "Beneath My Hand and Eye the Distant Hills, Your Body," the author compares the intimate experience of a lover's caress with the mountains, hills, cinder cones, and craters of the Uintah Mountains. Readers become explorers on both a very private level as well as a very public and grand level. A simplistic touch becoming a very complex interaction occurring at multiple levels. This is the effect Snyder intended. In an interview with Faas, he states, "There is a direction which is very beautiful, and that's the direction of the organism being less and less locked into itself, less and less locked into its own body structure and its relatively inadequate sense organs, towards a state where the organism can actually go out from itself and share itself with others."
Snyder has always maintained that his personal sensibility arose from his interest in Native Americans and their involvement with nature and knowledge of it; indeed, their ways seemed to resonate with his own. And he has sought something akin to this through Buddhist practices, Yamabushi initiation, and other experiences and involvements. However, since his youth he has been quite literate, and he has written about his appreciation of writers of similar sensibilities, like D. H. Lawrence, William Butler Yeats, and some of the great ancient Chinese poets. William Carlos Williams was another influence, especially on Snyder's earliest published work. Starting in high school, Snyder read and loved the work of Robinson Jeffers, his predecessor in poetry of the landscape of the American West; but, whereas Jeffers valued nature over humankind, Snyder saw humankind as part of nature. Snyder commented in interviews, "I have some concerns that I'm continually investigating that tie together biology, mysticism, prehistory, general systems theory". Snyder argues that poets, and humans in general, need to adjust to very long timescales, especially when judging the consequences of their actions. His poetry examines the gap between nature and culture so as to point to ways in which the two can be more closely integrated.
In 2004, receiving the Masaoka Shiki International Haiku Awards Grand Prize, Snyder highlighted traditional ballads and folk songs, Native American songs and poems, William Blake, Walt Whitman, Jeffers, Ezra Pound, Noh drama, Zen aphorisms, Federico García Lorca, and Robert Duncan as significant influences on his poetry, but added, "the influence from haiku and from the Chinese is, I think, the deepest."
Romanticism
Snyder is among those writers who have sought to dis-entrench conventional thinking about primitive peoples that has viewed them as simple-minded, ignorantly superstitious, brutish, and prone to violent emotionalism. In the 1960s Snyder developed a "neo-tribalist" view akin to the "post-modernist" theory of French Sociologist Michel Maffesoli. The "re-tribalization" of the modern, mass-society world envisioned by Marshall McLuhan, with all of the ominous, dystopian possibilities that McLuhan warned of, subsequently accepted by many modern intellectuals, is not the future that Snyder expects or works toward. Snyder's is a positive interpretation of the tribe and of the possible future. Todd Ensign describes Snyder's interpretation as blending ancient tribal beliefs and traditions, philosophy, physicality, and nature with politics to create his own form of Postmodern environmentalism. Snyder rejects the perspective which portrays nature and humanity in direct opposition to one another. Instead, he chooses to write from multiple viewpoints. He purposely sets out to bring about change on the emotional, physical, and political levels by emphasizing the ecological problems faced by today's society.
Beat
Gary Snyder is widely regarded as a member of the Beat Generation circle of writers: he was one of the poets that read at the famous Six Gallery event, and was written about in one of Kerouac's most popular novels, The Dharma Bums. Some critics argue that Snyder's connection with the Beats is exaggerated and that he might better be regarded as a part of the San Francisco Renaissance, which developed independently. Snyder himself has some reservations about the label "Beat", but does not appear to have any strong objection to being included in the group. He often talks about the Beats in the first person plural, referring to the group as "we" and "us".
A quotation from a 1974 interview at the University of North Dakota Writers Conference (published in The Beat Vision):
I never did know exactly what was meant by the term 'The Beats', but let's say that the original meeting, association, comradeship of Allen [Ginsberg], myself, Michael [McClure], Lawrence [Ferlinghetti], Philip Whalen, who's not here, Lew Welch, who's dead, Gregory [Corso], for me, to a somewhat lesser extent (I never knew Gregory as well as the others) did embody a criticism and a vision which we shared in various ways, and then went our own ways for many years. Where we began to come really close together again, in the late '60s, and gradually working toward this point, it seems to me, was when Allen began to take a deep interest in Oriental thought and then in Buddhism which added another dimension to our levels of agreement; and later through Allen's influence, Lawrence began to draw toward that; and from another angle, Michael and I after the lapse of some years of contact, found our heads very much in the same place, and it's very curious and interesting now; and Lawrence went off in a very political direction for a while, which none of us had any objection with, except that wasn't my main focus. It's very interesting that we find ourselves so much on the same ground again, after having explored divergent paths; and find ourselves united on this position of powerful environmental concern, critique of the future of the individual state, and an essentially shared poetics, and only half-stated but in the background very powerfully there, a basic agreement on some Buddhist type psychological views of human nature and human possibilities.
Snyder has also commented "The term Beat is better used for a smaller group of writers... the immediate group around Allen Ginsberg and Jack Kerouac, plus Gregory Corso and a few others. Many of us... belong together in the category of the San Francisco Renaissance.... Still, beat can also be defined as a particular state of mind... and I was in that mind for a while".
Bibliography
Library resources about
Gary Snyder
Resources in your library
Resources in other libraries
By Gary Snyder
Resources in your library
Resources in other libraries
Riprap and Cold Mountain Poems (1959)
Myths & Texts (1960)
Six Sections from Mountains and Rivers Without End (1965)
The Back Country (1967)
Regarding Wave (1969)
Earth House Hold (1969)
Smokey the Bear Sutra (1969)
Turtle Island (1974)
The Old Ways (1977)
He Who Hunted Birds in His Father's Village: The Dimensions of a Haida Myth (1979)
The Real Work: Interviews & Talks 1964-1979 (1980)
Axe Handles (1983)
Passage Through India (1983)
Left Out in the Rain (1988)
The Practice of the Wild (1990)
No Nature: New and Selected Poems (1992)
A Place in Space (1995)
narrator of the audio book version of Kazuaki Tanahashi's Moon in a Dewdrop from Dōgen's Shōbōgenzō
Mountains and Rivers Without End (1996)
The Geography Of Home (Poetry book)(1999)
The Gary Snyder Reader: Prose, Poetry, and Translations (1999)
The High Sierra of California, with Tom Killion (2002)
Look Out: a Selection of Writings (November 2002)
Danger on Peaks (2005)
Back on the Fire: Essays (2007)
The Selected Letters of Allen Ginsberg and Gary Snyder, 1956-1991, (2009).
Tamalpais Walking, with Tom Killion (2009)
The Etiquette of Freedom, with Jim Harrison (2010) film by Will Hearst with book edited by Paul Ebenkamp
Nobody Home: Writing, Buddhism, and Living in Places, with Julia Martin, Trinity University Press (2014).
This Present Moment (April 2015)
Distant Neighbors: The Selected Letters of Wendell Berry and Gary Snyder (May 2015)
The Great Clod: Notes and Memories on the Natural History of China and Japan (March 2016)
Notes
"Poetry Foundation: Gary Snyder Wins 2008 Ruth Lilly Poetry Prize". 2008-04-29. Archived from the original on 2008-05-11. Retrieved 2008-05-26.
Petr Kopecký, "Nature Writing in American Literature: Inspirations, Interrelations, and Impacts of California Authors on the Deep Ecology Movement" The Trumpeter, Volume 22, Number 2 (2006) ISSN 0832-6193 "[George] Sessions' numerous references to Snyder have not passed unnoticed by other scholars. He Is also a drunk. In his influential study The Idea of Wilderness (1991), Max Oelschlaeger titled the section on Snyder 'Poet Laureate of Deep Ecology.' What is even more striking is that in the footnote, Oelschlaeger confesses that 'Sessions in particular has influenced me to see and read Snyder as the poet laureate of deep ecology.'"
Chapter 14: The Dharma Bum
Seattle Times, 5-28-2009
Snyder, Gary (Sept/Oct 1984) "Choosing Your Place-and Taking a Stand" interview with G.S., The Mother Earth News, p.89.
Snyder (2007) p. 61
Suiter (2002) p 54
Snyder (2007) p. 149
Halper, Jon (1991). Gary Snyder: Dimensions of a Life. San Francisco: Sierra Club Books. ISBN 0-87156-616-8
Suiter (2002) p. 87
Alison Murie
Suiter (2002) p. 325
Moore, Robert E. (Winter 2008). "Listening to Indians/Snyder goes logging". Reed magazine. p. 14.
Smith (1999) p. 10
Snyder, Gary (1951). The Dimensions of a Myth. Reed College Library, Portland, Oregon, US: Reed College. pp. 1–4.
Suiter (2002) p. 7
Suiter (2002) pp. 83–94
Suiter (2002) p. 104
Suiter (2002) pp. 82–83
Suiter (2002) pp. 188–189
Fields, Rick (1981) How the Swans Came to the Lake, p. 212. Boulder, CO: Shamballa.
Suiter (2002) pp. 124–125
Stirling (2006) p. 83
Suiter (2002) pp. 192–193
Suiter (2002) p. 208
Suiter (2002) p. 235
Smith (2000) p. 12
Suiter (2002) p. 238
Suiter (2002) p. 241
Suiter (2002) p. 245
Suiter (2002) p. 246
Stirling (2006) p. 110
Suiter (2002) p. 250
Kyger (2000) p. 103
Robert Graham (2009). Anarchism: A Documentary History of Libertarian Ideas, Volume 2. Black Rose Books Ltd. pp. 240–243. ISBN 9781551643106.
Suiter (2002) p. 251
Halper (1991) p. 94
"Gary Snyder-Department of English". Retrieved 2009-04-13.
Snyder (2007) p. 161
Western Literature Association (1997) p. 316
"Sponsored Obituary: Carole Koda". 2006-07-07. Retrieved 2008-05-26.
A Brief Biography Archived 2008-05-13 at the Wayback Machine
'"The Practice of the Wild ". Slant Magazine 8 November 2010
CoEvolution Quarterly, issue #4, 1974
Norton, Jody; Gary Snyder (1987). "The Importance of Nothing: Absence and Its Origins in the Poetry of Gary Snyder". Contemporary Literature. 28 (1): 41–66. doi:10.2307/1208572.
Robert Frank, Henry Sayre. "On 'Beneath My Hand and Eye the Distant Hills, Your Body'". "Introduction" to The Line in Postmodern Poetry. University of Illinois. Retrieved 11 November 2012.
Suiter (2002) pp. 38–41
New York Quarterly "Craft Interview", 1973
Snyder (2007) p 59
Snyder (1969) "Why Tribe?," in Earth House Hold. New York: New Directions.
Charters, Samuel (1971) "Gary Snyder," pp 57–64, in Some Poems/Poets: studies in Underground American Poetry Since 1945. Berkeley: Oyez.
Ensign, Todd. "Gary Snyder: A Postmodern Perspective". Retrieved 11 November 2012.
Knight 1987.
The Columbia History of American Poetry (1993) by Jay Parini and Brett Candlish Millier ISBN 0-231-07836-6
Sources
Charters, Ann (ed.). The Portable Beat Reader. Penguin Books. New York. 1992. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk)
Hunt, Anthony. "Genesis, Structure, and Meaning in Gary Snyder's Mountains and Rivers Without End" Univ. of Nevada Press. 2004. ISBN 0-87417-545-3
Knight, Arthur Winfield. Ed. The Beat Vision (1987) Paragon House. ISBN 0-913729-40-X; ISBN 0-913729-41-8 (pbk)
Kyger, Joanne. Strange Big Moon: The Japan and India Journals: 1960–1964 (2000) North Atlantic Books. ISBN 978-1-55643-337-5
Smith, Eric Todd. Reading Gary Snyder's Mountains and Rivers Without End (1999) Boise State University. ISBN 978-0-88430-141-7
Snyder, Gary. The Politics of Ethnopoetics (1975) Snyder essay A Place in Space
Snyder, Gary. 1980. The Real Work: Interviews & Talks 1964–1979. New Directions, New York. ISBN 0-8112-0761-7 (hbk); ISBN 0-8112-0760-9 (pbk)
Stirling, Isabel. Zen Pioneer: The Life & Works of Ruth Fuller Sasaki (2006) Shoemaker & Hoard. ISBN 978-1-59376-110-3
Suiter, John. Poets on the Peaks (2002) Counterpoint. ISBN 1-58243-148-5; ISBN 1-58243-294-5 (pbk)
Western Literature Association. Updating the Literary West (1997) Texas Christian University Press. ISBN 978-0-87565-175-0
Further reading
Sherlock, John. (2010). Gary Snyder: a bibliography of works by and about Gary Snyder. UC Davis Library.
External links
Wikisource has original works written by or about:
Gary Snyder
Wikiquote has quotations related to: Gary Snyder
Works by or about Gary Snyder in libraries (WorldCat catalog)
Eliot Weinberger (Winter 1996). "Gary Snyder, The Art of Poetry No. 74". The Paris Review.
Profile at Poetry Foundation
Profile at Poets.org
Snyder talk "Mountains and Rivers without End" at the Smithsonian Museums of Asian art (Audio 1 hr) at 12 July 2008. Talk programme
Shambhala Sun Magazine article "The Wild Mind Of Gary Snyder" by Trevor Carolan and "Writers and the War Against Nature" by Gary Snyder in Shambhala Sun Magazine
2007 Public Access TV interview (Nevada County TeleVision), 61 minutes
"Gary Snyder" by Bert Almon from the Western Writers Series Digital Editions at Boise State University
New York Times profile "A Poem, 40 Years Long" 6 October 1996
Gary Snyder on Art, Anarchy and the Environment (2010 San Francisco Film Society interview)
Gary Snyder Papers at Special Collections Dept., University Library, University of California, Davis
Gary Snyder. Letters to Shandel Parks MSS 719. Special Collections & Archives, UC San Diego Library.
Records of Gary Snyder are held by Simon Fraser University's Special Collections and Rare Books
Western American Literature Journal: Gary Snyder