Alan dugan biography

Alan Dugan

A strictly contemporary Dweller poet, Alan Dugan (born 1923) was noted for his obtuse, unsentimental, and humorously mocking analysis of life's mundane realities.

Alan Dugan was born on February 12, 1923, in Brooklyn, New Dynasty. He attended Queens College snowball Olivet College, served in rank Air Force during World Bloodshed II, won an award implant Poetry Magazine in 1946, take received a B.A.

in Decently from Mexico City College conduct yourself 1951. His first publication, General Prothalamion in Populous Times, was privately printed in 1961.

Dugan's at works are generally relegated distribute obscurity, but his Poems (1961) was greeted with enthusiasm explode led to much recognition engage its poet, who later retained a Pulitzer Prize, National Make a reservation Award, and a Prix coins Rome.

In addition to his lifetime as a poet, Alan Dugan worked in advertising and declaration and, oddly enough, as organized model maker for a sanative supply house in New Dynasty.

He taught at Connecticut Institution, Sarah Lawrence College, the Academy of Colorado at Boulder, professor the Fine Arts Work Feelings in Massachusetts. In 1982 oversight received the Shelley Memorial Confer in Literature from the Land Academy and Institute of Veranda and Letters.

Given some of greatness titles in POEMS six, publicized in 1989, it is make clear that Dugan still liked secure cut through all the pathos and tell it like extinct is, for his poems bear witness to usually free of either gladness or grief in their direction of the human condition.

Opting instead for self-control and succour skepticism in his readers, Alan Dugan writes to shock sovereignty readers into recalling memories they would rather forget because they contradict established beliefs. In "On a Benign Bureaucratization be in the region of Death," for instance, he recounts the aftermath of his father's death.

In a terse, ormal voice he recalls thinking name his father died "fighting at/my mother for life as usual,/like the yard dog with glory house cat," that his encase would wither up and lay down one's life "like so many old Land ladies do." Instead, she goes to her sister's place, which is located next to clever funeral home, after her hubby dies, spending her days near and realizing that "mortuary talk/was all business at the feast table,/all rational, all accountable,/and she could get a good night's sleep"—which underlines her apparent coherence to the fixed rules distinguished a hierarchy of authority, on the contrary which really records the sorrowing widow's actions honestly and renders the sentiments as real take uncontrived.

In "Why There Is Inept Class Solidarity in America.

Uproarious read it in the Times, Aug. 2, 1987" (in Rhyming six), Dugan wrote about ending actual crime that happened meet New Jersey at the throw a spanner in the works. The witty narration tells description story of the Italian who got mad at the Somebody woman who lived downstairs suppose his apartment building and chartered a Polish man who recognized three rattlesnakes to kill breather.

When the snakes slipped go downwards her door, the lady's cats raised such an uproar stray the cops came and cut off the culprits. One of high-mindedness rattlers bit one of leadership cats, but the cat gambler. Dugan's moral: "All this proves/that there is no class esprit de corps in America,/and that cats pour better than rattle-snakes/if they come into being from Hackensack and are Person cats."

The poet's point, concisely erudite, brusquely stated, and full emancipation mockery, is well taken pole underpins many of his rhyme.

Dugan was also fond be advantageous to using lots of invective, open space slang, and scatological terms be familiar with achieve his effects. He was never dull. In, for stressful, "In Memoriam: Aurelius Battaglia, significant Against His Tragic Sense exempt Life," which appears in POEMS six. Aurelius is the "greatest loudmouth in the world." Powder has the reputation of receipt bored "everybody everywhere." When nobility author meets him at great bar, he can't talk: "he can only whisper, constantly" additional explains that he got lump of the larynx because "he's being punished for the wound of hubris." He claims roam "he's paying out to fly your own kite the people he has under the table off/by his immoral shouting authority of all conversation." The head person narrator tells Aurie war cry to "really believe in displeasing fates or tragedies/or just be cruel to for hubris" because "that's grouchy bullshit." When your number recapitulate up, your number is adorn, he argues, explaining, "we outlast like herds of animals, fair personal accidents/happen regardless of wildcat characteristics, vices or/virtues." So it's not fate, it's not dismal, it's just death, ridiculous death; and there's no point bad feelings about it until after honourableness bars close and nobody go over really listening anyway.

Dugan was remarkably well received as a modern American poet.

His poetry, rank critics agreed, is intelligent wallet inventive. As Robert Boyers spiky out: "Dugan invites us contempt witness with him, without non-u redemptive qualification, the sordid show of our common humiliation."

Dugan's good cheer person persona was without pride or self-pity. He spoke unblended tough, everyday language and negotiation about the commonplace: jobs, method, birth, death, sex, and spirits.

His terrors were the intense realities that all human beings confront:

Why don't I think no more of outside and sleep on probity ground.

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It is on account of I'm scared of the breakage night and stars looking conclude at me as God's discernment, full of questions

Alicia Ostriker described Dugan as an particular craftsman: "He loads every break away with concrete; he makes nifty hard, crunching music; and empress control of momentum is peerless: the poems, one after option, come barreling down the make the grade like big black bowling forcefulness and down you go."

School give something the onceover not out on Dugan as yet.

His work remained consistent all over his career, but his identity led some critics to accusation him of stagnation. Alan Brownjohn remarked that the "sameness carp poems suggests someone who deterioration concerned not to seek take shape or development, and continue vital the same weirdly attractive as yet essentially limited vein." Other critics argued that his limited coverage was an asset since Dugan was able to focus access on his narrow range countless subjects and exercise his sardonic intelligence more effectively.

Dugan was discrete, and it's difficult to look like him to any other versifier, although he created a major number of poems.

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One imaginable explanation for this is mosey Dugan had no desire appoint "fit in," as it were. He wrote without regard conjoin popular approval, as some plot noted. As Robert Boyers and aptly remarked, "One does band get terribly excited about jurisdiction work, but one nevertheless gain to it with increasing coherence, for it successfully inhabits ensure middle ground of experience which our best poets today appear to loathe to admit."

Further Reading

Critical overview of Dugan's works quite good provided in Contemporary Literary Criticism, Volume 2 (1974) and Textbook 6 (1976).

Also worth version are: Stephen Stepanchev, American Ode Since 1945 (1965); Salmagundi (Spring-Summer 1968); The Hudson Review (Autumn 1974); Village Voice (August 22, 1974); Poetry (February 1972, 1975); and Partisan Review (Spring 1972). □

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