LETTERS: Correspondence with W.D. Snodgrass.
ANNE SEXTON LETTERS TO W.D. SNODGRASS 1958-59
Sexton, Anne. Correspondence with W.D. Snodgrass. 1958-59.
Letters from Anne Sexton to fellow poet W.D. Snodgrass following their meeting at the 1958 Antioch Writers’ Conference. Sexton had been captivated by Snodgrass’s “The Heart’s Needle,” which was inspired by his separation from his young daughter; the experience of separation was something they shared, as Sexton was living apart from her own daughter at that time. She began writing to Snodgrass – or “Snodsy,” as she affectionately dubbed him – and he became her mentor. Her first book of poems, To Bedlam and Part Way Back, was published in 1960.
Sexton begins one of her first letters by telling Snodgrass, “How in heavens name can I write anything when I seem to be constantly writing to you...” Indeed, she does write to him at length, in the confessional style of her poetry, on numerous subjects, all of which are intertwined for her: she discusses her poetry and its relation to him, to her letter writing, to her gender, to her mental state. Her reverence for Snodgrass is outdone only by her interest in herself – on January 11, 1959, she writes in typical fashion, “And of course I love you. And sometimes I worry about you. Mostly I just worry about myself...” She reflects on her “natal date,” which she calculates from the start of her poetry career (commenting, “I have really been alive only a year...”), and compares her work to other writers. In her second letter to Snodgrass, Sexton observes, “I shall never write a really good poem. I overwrite. I am a reincarnation of Edna St. Vincent... I am learning what I am not. [...] Also a fear of writing as a woman writes. I wish I were a man – I would rather write the way a man writes...” Sexton also shares details of her depression, admitting, “Don’t mind me. I have been, in truth, very depressed lately – tho I am adroit at hiding behind the verbal and pretty mask – still, I am depressed...” Other topics in the correspondence include Snodgrass’s own work; a class Sexton began taking with Robert Lowell (which she describes on January 11, 1959, as “good,” commenting, “I am learning leaps and boundaries...”); the death of her mother; potential fellowships; and progress with publishing her first book.
Inventory
13 typed letters (three signed and ten signed in type), four of which are unpublished, Anne Sexton to W.D. Snodgrass; 25 pages total; holograph corrections and post-scripts throughout; all creased where folded for mailing; with original envelopes.
Six pages of manuscript material, including poems and original commentary of Snodgrass’s work.
Summaries and excerpts
Typed letter, signed in type, “Anne,” to “Mr. Snodgrass honey”; August 31, [1958]; 7 x 10 1⁄2 inches; Sexton’s personal stationery; three leaves, three pages. With an unpublished passage (approximately half-page) relating to Ruth Soter and their analysis of each other – Sexton writes in part,
As you say, I talk a lot. My defense is words. As Ruth advised me on the plane, “stop thinking that you can avoid people with all your words – or even reach them with your words” – Mostly I try to forget people and write. I relate to paper best. In a poem of mine (which you said you did not like – but you are wrong – it is one of my best) I said of my doctor “your business is people” and thought to myself “my business is words”.
Typed letter, signed in type, “Anne (the Hudson Review made a mistake) Sexton,” to “Dear Mr. Snodgrass”; n.d. (envelope postmarked October 16, 1958); 7 x 10 1⁄2 inches; Sexton’s personal stationery; one leaf, two pages. With an unpublished passage (approximately a page) relating to travel plans and contact information for Ruth Soter. Together with:
Typescript critique of Snodgrass’s poem “The Red Studio”; one leaf, two pages. Sexton comments in part that it “seems good, but muddy in places. [...] I guess your form disturbs me a little. [...] I am a little bor
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