Classic and Contemporary Poets

Howard Moss (1922-1987) was an American poet, critic, and editor, notable for his association with The New Yorker magazine, where he served as the poetry editor for nearly forty years. His role at The New Yorker placed him at the heart of the American literary scene, where he had a significant influence on the careers of many poets whose work he championed.

Moss was born in New York City and educated at the University of Michigan, where he began to develop his voice as a poet. His poetry is known for its formal elegance, wit, and clarity. It reflects a mid-20th century poetic tradition that valued a certain decorum in technique, precision in language, and a conversational, though not confessional, tone. His work stands in contrast to the more open and confessional styles that characterized much of the poetry of his contemporaries.

Moss's literary background was richly informed by the poetic traditions of both the English and American canons. While modernist in his sensibilities, Moss often turned to traditional forms, such as the sonnet, and employed them in innovative ways that bridged classical form with contemporary content. He was influenced by poets such as W. H. Auden and Elizabeth Bishop, with whom he also maintained personal friendships. His poetry also reflects a connection to the metaphysical poets of the 17th century, such as John Donne, in its intellectual playfulness and engagement with philosophical themes.

In terms of his poetic oeuvre, Moss's poetry frequently explored the complexities of identity, the nuances of interpersonal relationships, and the interplay between reality and artifice. One sees in his poetry a keen observer of human nature and the social milieu, yet his approach often carried a lightness, characterized by nuance and restraint rather than overt emotionality. His collection "Finding Them Lost" (1971) and other works exhibit this delicate balance between intellect and affect.

Throughout his career, Moss published several volumes of poetry, including "The Wound and the Weather" (1946) and "Buried City" (1975), which showcase his mastery of form and depth of insight. His poems are often noted for their understated lyricism and the elegance of their construction.

His influence on poetry extends beyond his own writings to the impact he had as an editor. Through his editorial work, he was instrumental in shaping the poetic voice of The New Yorker, which has been one of the most influential platforms for poetry in the United States. Moss nurtured the careers of many young poets, providing a vital connection between the public and emerging voices in poetry.

Howard Moss was recognized with several honors, including the National Book Award for his collection "Selected Poems" in 1972. His critical work was also highly regarded, with his literary criticism and playwriting contributing to his reputation as a versatile and intellectual voice in American letters.

In conclusion, Howard Moss's legacy is twofold: he is remembered for his own poetry, which exemplifies a mid-century American aesthetic of formal poise and intellectual engagement, and for his significant role in curating and shaping the landscape of American poetry through his editorial work. His influence continues to be felt in the poetry published in The New Yorker and in the many poets whose careers he helped to cultivate.

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