poem index

About this poet

Amy Clampitt was born on June 15, 1920, and brought up in New Providence, Iowa. She wrote poetry in high school, but then ceased and focused her energies on writing fiction instead. She graduated from Grinnell College, and from that time on lived mainly in New York City. To support herself, she worked as a secretary at the Oxford University Press, a reference librarian at the Audubon Society, and a freelance editor. Not until the mid-1960s, when she was in her forties, did she return to writing poetry. Her first poem was published by The New Yorker in 1978. In 1983, at the age of sixty-three, she published her first full-length collection, The Kingfisher (Alfred A. Knopf).

In the decade that followed, Clampitt published five books of poetry, including What the Light Was Like (Alfred A. Knopf, 1985), Archaic Figure (Alfred A. Knopf, 1987), and Westward (Alfred A. Knopf, 1990). Her last book, A Silence Opens (Alfred A. Knopf), appeared in 1994. The recipient in 1982 of a Guggenheim Fellowship, and in 1984 of an Academy Fellowship, she was made a MacArthur Foundation Fellow in 1992. She was also a member of the American Academy of Arts and Letters and taught at the College of William and Mary, Amherst College, and Smith College. She died of cancer in September 1994.


Selected Bibliography

Poetry

The Collected Poems of Amy Clampitt (Alfred A. Knopf, 1997)
A Silence Opens (Alfred A. Knopf, 1994)
Manhattan: An Elegy, and Other Poems (University of Iowa Center for the Book, 1990)
Westward (Alfred A. Knopf, 1990)
Archaic Figure (Alfred A. Knopf, 1987)
What the Light Was Like (Alfred A. Knopf, 1985)
The Kingfisher (Alfred A. Knopf, 1983)
The Summer Solstice (Sarabande Press, 1983)
Multitudes, Multitudes (Washington Street Press, 1973)

Prose

Predecessors, Et Cetera: Essays (University of Michigan Press, 1991)
The Essential Donne (Ecco Press, 1988)
A Homage to John Keats (Sarabande Press, 1984)


Multimedia

From the Image Archive

 

Salvage

Amy Clampitt
     
Daily the cortege of crumpled 
defunct cars 
goes by by the lasagna-
layered flatbed 
truckload: hardtop 

reverting to tar smudge,
wax shine antiqued to crusted 
winepress smear, 
windshield battered to
intact ice-tint, a rarity

fresh from the Pleistocene. 
I like it; privately 
I find esthetic 
satisfaction in these 
ceremonial removals

from the category of
received ideas
to regions where pigeons' 
svelte smoke-velvet
limousines, taxiing 

in whirligigs, reclaim 
a parking lot,
and the bag-laden
hermit woman, disencumbered 
of a greater incubus,

the crush of unexamined
attitudes, stoutly
follows her routine,
mining the mountainsides
of our daily refuse

for artifacts: subversive
re-establishing
with each arcane
trash-basket dig
the pleasures of the ruined.

From The Collected Poems of Amy Clampitt, published by Alfred A. Knopf. Copyright © 1997. Used with permission from the Estate of Amy Clampitt.

Amy Clampitt

Amy Clampitt

Amy Clampitt was born on June 15, 1920, and brought up in

by this poet

poem
Tufts, follicles, grubstake
biennial rosettes, a low-
life beach-blond scruff of
couch grass: notwithstanding
the interglinting dregs

of wholesale upheaval and
dismemberment, weeds do not
hesitate, the wheeling
rise of the ailanthus halts
at nothing--and look! here's

a pokeweed, sprung up from seed
dropped by
poem
While you walk the water's edge,
turning over concepts
I can't envision, the honking buoy
serves notice that at any time
the wind may change,
the reef-bell clatters
its treble monotone, deaf as Cassandra
to any note but warning. The ocean,
cumbered by no business more urgent 
than keeping open old accounts
that
poem
Like the foghorn that's all lung,
the wind chime that's all percussion,
like the wind itself, that's merely air
in a terrible fret, without so much
as a finger to articulate
what ails it, the aeolian
syrinx, that reed
in the throat of a bird,
when it comes to the shaping of
what we call consonants, is
too