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Paperback Publisher: Scrimshaw Press; First Edition edition (1971) ISBN-10: 091202013X

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Artist Oliver Jeffers gives readers an unprecedented and intimate window into his creative process, weaving his popular works with never-before-seen art and illustrations, alongside his personal story of how he came to art, his love of books, and his bookmaking, fashioned from his personal sketchbooks.This dynamic visual biography is Jeffers's personal chronicle of an artist who blends his love of creating stories with his love of art and his infectious charm, and is a must-have for art lovers and bibliophiles both young and old.Oliver Jeffers takes a dive into Oliver's own origin story, inspirations, art evolution, and passion for storytelling: from growing up loving art and creating stories as a young boy in Belfast, Ireland; to finding a huge audience for his loveable stories; to what led him to his enormously clever found painting; to his collaborations with U2, TED, Colette, and Apple, to his newest meditative dipped painting performances. Oliver Jeffers is a fresh canvas for his imagination, and includes a pass through his most popular work, never-before-published illustrations and art, and a look into his more personal world of sketchbooks and doodles. Oliver's own story, infused with the whimsy and joy his work is famous for, is must-have not only for current fans of Oliver Jeffers's picture books, but also new fans, art lovers, and bibliophiles both young and old.

The precipitous cliffs, rolling headlands, and rocky inlets of the California coast come alive in the poetry of John Robinson Jeffers, an icon of the environmental movement. In this concise and accessible biography, Jeffers scholar James Karman reveals deep insights into this passionate and complex figure and establishes Jeffers as a leading American poet of prophetic vision. In a move that would define his life's work, Jeffers' family relocated to California from Pennsylvania in 1903 when he was sixteen. While a graduate student at the University of Southern California he met Una Call Kuster, a student who was the wife of a prominent Los Angeles attorney, and they began a scandalous affair that made the front page of the Los Angeles Times. They eventually married and escaped to Carmel, California to write poetry; there they would spend the rest of their lives. At the height of his popularity in the 1920s and 1930s, Jeffers became one of the few poets ever featured on the cover of Time magazine, and posthumously put on a U.S. postage stamp. Writing by kerosene lamp in a granite tower that he had built himself, his vivid and descriptive poetry of the coast evoked the difficulty and beauty of the wild and inspired photographers such as Edward Weston and Ansel Adams. He was known for long narrative blank verse that shook up the national literary scene, but in the 1940s his interest in the Greek classics led to several adaptations which were staged on Broadway to great success. Inspiring later artists from Charles Bukowski to Czesław Miłosz and even the Beach Boys, Robinson Jeffers' contribution to American letters is skillfully brought back out of the shadows of history in this compelling biography of a complex man of poetic genius who wrote so powerfully of the astonishing beauty of nature.

Robinson Jeffers (1887-1962) is not only the greatest poet that California (and indeed the American West) has produced but a major poet of the twentieth century who occupies a prominent place in the tradition of American prophetic poetry. Jeffers consciously set himself apart from the poetry of his generation―by physical isolation at his home in Carmel, by his unusual poetic form, and by his stance as an "anti-modernist." Yet his work represents a profound, and profoundly original, artistic response to problems that shaped modernist poetry and that still perplex poets today; how to reconcile scientific and artistic discourses and modes of vision; how to connect present-day experience to myths perceived as lying at the origins of human culture; how to renew the poetic language and how (or whether) to present art's claim to moral, spiritual, or epistemological seriousness within representations of modern phenomena. For Jeffers, as for no other important modern American poet, there has never been a collected poems, not even a truly representative selected poems―the current Selected Poetry, first published in 1938, contains no work from the last three volumes published during Jeffers' lifetime or from his posthumous volume. Now, for the first time, all of Jeffers' completed poems, both published and unpublished, are presented in a single, comprehensive, and textually authoritative edition. The first three volumes of this four-volume work, will present chronologically all of Jeffers' published work from 1920 to 1963. The present volume consists of poems written between 1928 and 1938―the narratives Dear Judes, Thurso's Landing, Give Your Heart to the Hawks, Solstice, and Such Counsels You Gave to Me, as well as shorter verse dramas and lyric poems.

Robinson Jeffers (1887-1962) is not only the greatest poet that California (and indeed the American West) has produced but a major poet of the twentieth century who occupies a prominent place in the tradition of American prophetic poetry. Jeffers consciously set himself apart from the poetry of his generation―by physical isolation at his home in Carmel, by his unusual poetic form, and by his stance as an "anti-modernist." Yet his work represents a profound, and profoundly original, artistic response to problems that shaped modernist poetry and that still perplex poets today; how to reconcile scientific and artistic discourses and modes of vision; how to connect present-day experience to myths perceived as lying at the origins of human culture; how to renew the poetic language and how (or whether) to present art's claim to moral, spiritual, or epistemological seriousness within representations of modern phenomena. For Jeffers, as for no other important modern American poet, there has never been a collected poems, not even a truly representative selected poems―the current Selected Poetry, first published in 1938, contains no work from the last three volumes published during Jeffers' lifetime or from his posthumous volume. Now, for the first time, all of Jeffers' completed poems, both published and unpublished, are presented in a single, comprehensive, and textually authoritative edition. The first three volumes of this four-volume work, will present chronologically all of Jeffers' published work from 1920 to 1963. The present volume consists of poems written from 1939 to Jeffers' death in 1963, including the dramatic poems The Bowl of Blood, Medea, and The Double Axe byt were eventually omitted for reasons that are unclear; and those poems from his last years, which appeared posthumously in The Beginning and the End, that seem to be completed drafts.

This book is the first volume in what will be a three-volume, fully annotated edition that collects all of Robinson Jeffers' letters and the most important of Una Jeffers' letters. Volume One, comprised of letters written between 1890 and 1930, also contains a substantial introduction to Jeffers' life and work. Readers of Volume One will acquire a completely new understanding of Jeffers' formative years. Topics of special interest include the evolution of Robinson and Una's relationship (which involved the breakup of her first marriage), their move to Carmel, the building of Tor House and Hawk Tower, Jeffers' maturation as a poet, the couple's widening circle of friends, and their first trip together to the British Isles.

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This volume of correspondence, the last in a three-volume edition, spans a pivotal moment in American history: the mid-twentieth century, from the beginning of World War II, through the years of rebuilding and uneasy peace that followed, to the election of President John F. Kennedy. Robinson Jeffers published four important books during this period―Be Angry at the Sun (1941), Medea (1946), The Double Axe (1948), and Hungerfield (1954). He also faced changes to his hometown village of Carmel, experienced the rewards of being a successful dramatist in the United States and abroad, and endured the loss of his wife Una. Jeffers' letters, and those of Una written in the decade prior to her death, offer a vivid chronicle of the life and times of a singular and visionary poet.

Compiles over one hundred of the American poet's most significant works including Roan Stallion, Tamar, and Thurso's Landing

An event of rare literary distinction, this book records the conjunction between two distinguished American poets, illuminating not only their work and their connection but also the deep strain of pantheistic mysticism in the American tradition. In 1934, William Everson came across a volume of Jeffers's poetry. In Everson's word, the power of Jeffers 'broke my own acquired agnosticism and compelled me to think of myself as a manifestly religious man. It is a power I still attest to in writing this study, a power which I continue to think of as an undiluted religious force'. It was after reading Jeffers that Everson's vocation as a poet emerged, and though they never met or corresponded, Everson has remained loyal and dedicated to Jeffers throughout his life. Everson, who published extensively under his religious name Brother Antoninus during his nearly twenty years as a Dominican lay brother, has become one of the most knowledgeable scholars and critics of Jeffers, as well as his one avowed poetic disciple. This book is written as a series of over-lapping and ever-widening meditations on Jeffers's sense of God, nature, the self, and language.

Robinson Jeffers (1887-1962) is not only the greatest poet that California (and indeed the American West) has produced but a major poet of the twentieth century who occupies a prominent place in the tradition of American prophetic poetry. Jeffers consciously set himself apart from the poetry of his generation―by physical isolation at his home in Carmel, by his unusual poetic form, and by his stance as an "anti-modernist." Yet his work represents a profound, and profoundly original, artistic response to problems that shaped modernist poetry and that still perplex poets today; how to reconcile scientific and artistic discourses and modes of vision; how to connect present-day experience to myths perceived as lying at the origins of human culture; how to renew the poetic language and how (or whether) to present art's claim to moral, spiritual, or epistemological seriousness within representations of modern phenomena. For Jeffers, as for no other important modern American poet, there has never been a collected poems, not even a truly representative selected poems―the current Selected Poetry, first published in 1938, contains no work from the last three volumes published during Jeffers' lifetime or from his posthumous volume. Now, for the first time, all of Jeffers' completed poems, both published and unpublished, are presented in a single, comprehensive, and textually authoritative edition. The first three volumes of this four-volume work, will present chronologically all of Jeffers' published work from 1920 to 1963. The present volume consists of poems written from 1939 to Jeffers' death in 1963, including the dramatic poems The Bowl of Blood, Medea, and The Double Axe byt were eventually omitted for reasons that are unclear; and those poems from his last years, which appeared posthumously in The Beginning and the End, that seem to be completed drafts.

American Poet Robinson Jeffers (1887-1962) was educated in the classics from an early age and published his first book of poetry in 1912. Most of Jeffers' work is distinguished by strong elemental narratives set in the California Carmel/Big Sur area. His imagery often puts the rugged beauty of the landscape in opposition to the degraded and introverted condition of modern humanity. Jeffers' themes draw on classical and biblical sources from his early education, and his strong interest in Nietzsche's concept of individualism. Many of his contemporaries erroneously regarded him as a nihilist. This collection of essays attempts to illustrate the art and complexity of Jeffers, while presenting new insights into his work and its perception among his contemporaries. The essayists are Robert Brophy, Alex Vardamis, Robert Zaller, Terry Beers, Tim Hunt, David J. Rothman, Alan Soldofsky, Kirk Glaser, and William Everson. The essays represent a range of critical points of entry-some are on the cutting-edge of criticism and break new ground, others attempt to place Jeffers in the established perspectives of Western civilization's Christian humanism and American poetry's landscape-centered mysticism. The collection constitutes some of the most conversant and active research in the field of Jeffers studies. The critiques speak to the nature of Jeffer's poetry- how it challenged both the minds and hearts of its readers and prompted them to carefully define their own values and authentically find their own center.

American Poet Robinson Jeffers (1887-1962) was educated in the classics from an early age and published his first book of poetry in 1912. Most of Jeffers' work is distinguished by strong elemental narratives set in the California Carmel/Big Sur area. His imagery often puts the rugged beauty of the landscape in opposition to the degraded and introverted condition of modern humanity. Jeffers' themes draw on classical and biblical sources from his early education, and his strong interest in Nietzsche's concept of individualism. Many of his contemporaries erroneously regarded him as a nihilist. This collection of essays attempts to illustrate the art and complexity of Jeffers, while presenting new insights into his work and its perception among his contemporaries. The essayists are Robert Brophy, Alex Vardamis, Robert Zaller, Terry Beers, Tim Hunt, David J. Rothman, Alan Soldofsky, Kirk Glaser, and William Everson. The essays represent a range of critical points of entry-some are on the cutting-edge of criticism and break new ground, others attempt to place Jeffers in the established perspectives of Western civilization's Christian humanism and American poetry's landscape-centered mysticism. The collection constitutes some of the most conversant and active research in the field of Jeffers studies. The critiques speak to the nature of Jeffer's poetry- how it challenged both the minds and hearts of its readers and prompted them to carefully define their own values and authentically find their own center.

Artist Oliver Jeffers gives readers an unprecedented and intimate window into his creative process, weaving his popular works with never-before-seen art and illustrations, alongside his personal story of how he came to art, his love of books, and his bookmaking, fashioned from his personal sketchbooks.This dynamic visual biography is Jeffers's personal chronicle of an artist who blends his love of creating stories with his love of art and his infectious charm, and is a must-have for art lovers and bibliophiles both young and old.Oliver Jeffers takes a dive into Oliver's own origin story, inspirations, art evolution, and passion for storytelling: from growing up loving art and creating stories as a young boy in Belfast, Ireland; to finding a huge audience for his loveable stories; to what led him to his enormously clever found painting; to his collaborations with U2, TED, Colette, and Apple, to his newest meditative dipped painting performances. Oliver Jeffers is a fresh canvas for his imagination, and includes a pass through his most popular work, never-before-published illustrations and art, and a look into his more personal world of sketchbooks and doodles. Oliver's own story, infused with the whimsy and joy his work is famous for, is must-have not only for current fans of Oliver Jeffers's picture books, but also new fans, art lovers, and bibliophiles both young and old.

American Poet Robinson Jeffers (1887-1962) was educated in the classics from an early age and published his first book of poetry in 1912. Most of Jeffers' work is distinguished by strong elemental narratives set in the California Carmel/Big Sur area. His imagery often puts the rugged beauty of the landscape in opposition to the degraded and introverted condition of modern humanity. Jeffers' themes draw on classical and biblical sources from his early education, and his strong interest in Nietzsche's concept of individualism. Many of his contemporaries erroneously regarded him as a nihilist. This collection of essays attempts to illustrate the art and complexity of Jeffers, while presenting new insights into his work and its perception among his contemporaries. The essayists are Robert Brophy, Alex Vardamis, Robert Zaller, Terry Beers, Tim Hunt, David J. Rothman, Alan Soldofsky, Kirk Glaser, and William Everson. The essays represent a range of critical points of entry-some are on the cutting-edge of criticism and break new ground, others attempt to place Jeffers in the established perspectives of Western civilization's Christian humanism and American poetry's landscape-centered mysticism. The collection constitutes some of the most conversant and active research in the field of Jeffers studies. The critiques speak to the nature of Jeffer's poetry- how it challenged both the minds and hearts of its readers and prompted them to carefully define their own values and authentically find their own center.

This book is the first volume in what will be a three-volume, fully annotated edition that collects all of Robinson Jeffers' letters and the most important of Una Jeffers' letters. Volume One, comprised of letters written between 1890 and 1930, also contains a substantial introduction to Jeffers' life and work. Readers of Volume One will acquire a completely new understanding of Jeffers' formative years. Topics of special interest include the evolution of Robinson and Una's relationship (which involved the breakup of her first marriage), their move to Carmel, the building of Tor House and Hawk Tower, Jeffers' maturation as a poet, the couple's widening circle of friends, and their first trip together to the British Isles.

Robinson Jeffers (1887-1962) is not only the greatest poet that California (and indeed the American West) has produced but a major poet of the twentieth century who occupies a prominent place in the tradition of American prophetic poetry. Jeffers consciously set himself apart from the poetry of his generation―by physical isolation at his home in Carmel, by his unusual poetic form, and by his stance as an "anti-modernist." Yet his work represents a profound, and profoundly original, artistic response to problems that shaped modernist poetry and that still perplex poets today. For Jeffers, as for no other important modern American poet, there has never been a collected poems, not even a truly representative selected poems―the current Selected Poetry, first published in 1938, contains no poems from the last three volumes published during Jeffers's lifetime or from his posthumous volume. Now, for the first time, all of Jeffers's completed poems, both published and unpublished, are presented in a single, comprehensive, and textually authoritative edition of five volumes. The present volume is in three parts. "Poetry 1903-1920" consists of some of the poems published while Jeffers was a college student, two early collections (Flagons and Apples and Californians), and a number of poems that were never published or were recently rediscovered. "Introductions, Forewords, and Miscellaneous Prose, 1920-1948" gathers all the major prose works. "Unpublished Poems and Fragments, 1910-1962" is mostly material that Jeffers never published, and apparently never tried to publish. The fifth volume of commentary will contain various procedural explanations and textual evidence for the texts presented in the edition, as well as transcriptions of working notes for the poems and of alternate and discarded passages. The Collected Poetry is designed by Adrian Wilson.