Deep Image Poetry Essay


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Deep Image Poetry

Deep Image Poetry: Introduction

In deep image poetry, pictures are filled with great spiritual power and can make the unconscious conscious. Another name of deep image poetry is leaping poetry. It shows how surrealism can be used in poems effectively. Stories and myths are perfect matches for leaping poetry. James Wright and W.S. Merwin were among the poets who were influenced by this movement (Lehman & Brehm, 2006). This paper covers up this movement and the related poets' careers, achievements, translations, stories, and ideas.

Body Paragraphs

Robert Bly opened his eyes to the World in Minnesota. In the last period of the 1950s, he criticized the common movements of the poetry of those days, which he found naive and emotionally lacking. According to Robert Bly, in most of his works he is touring Italy on a donation, admiring drawings, trying to dig deeper in the poems things on Holland or Mythology that he had acknowledged in graduate school, looking to find out if the babies just born were royal monsters or not — that kind of ideas. Thanks to his interpretations, Bly made contributions to creating a USA reader community for writers like Cesar Vallejo, Pablo Neruda, and Tomas Transtromer. Bly's work, The Light Around the Body (1967), was a tough scream pointing the Vietnam War, and Bly was involved in politics and aware of his social environment (Lehman & Brehm, 2006). Robert Bly was also famous due to his activities in the Mythopoeic Men’s Movement, a personal care method taken from the works of Joseph Campbell (Hacht & Hayes, 2009). James Wright was also known for his deep image methods.

James Wright came to the World in Ohio. He did his military service in Japan for the American invasion after the Second World War. He went to Kenyon College on the GI Bill, being together with John Crowe Ransom, and did his final thesis at the University of Washington with the instructions of Theodore Roethke. W H. Auden picked Wright's one of the earliest books, The Green Wall, to put it in the Yale Younger Poets collection in 1957. Wright interpreted the writings of Pablo Neruda, Cesar Vallejo, and Georg Trakl. He was diagnosed with throat cancer and died in NYC in 1980 (Lehman & Brehm, 2006). Another author of Galway Kinnel lives in New York City.

Galway Kinnell came to World in Rhode Island. An American Marine veteran, he studied at Princeton, where he and W. S. Merwin got to know each other. Kinnell was residing in France in the 1960s when the civil rights activities influenced him in the USA. He came back and participated in the efforts on adding Afro-Americans to the voters in Louisiana. He made a comment about poems and poets with these words; I am not interested in a poem in which the writer doesn't share all the knowledge and experience he has. He also shared his ideas in an interview in 2001 by explaining that he tries to go beyond the known meaning of the words and he gives the word ''pig'' as an example. According to him, ‘’pig’’ is a bad word, however, when you get close to the pigs, you start to feel something for them; you realize that pigs are beautiful. If a living being doesn’t look incredibly beautiful, the reason is that individual who gets in touch with them is not able to realize. My love for the living beings gets bigger and bigger as the years pass by (Lehman & Brehm, 2006). Galway Kinnell was an old fellow of MacArthur and the state writer of Vermont. Kinnel’s Selected Poems got the Pulitzer Prize and won National Book Award in 1982. He was chosen for the Frost Medal by the Poetry Society of the USA in 2002. He interpreted the writings of Bonnefoy, Lorca, Rilke, and Villon. He is a professor of Erich Maria Remarque in Creative Writing at New York University. Kinnel lives in NYC and Vermont (Kinnel, 2001). His poet friend W.S. Merwin graduated from Princeton with him.

W. S. Merwin was born in NYC and lived in New Jersey and Pennsylvania. He studied at Princeton, and between 1949 and 1951 he was a mentor in France, Portugal, and Majorca, after that he was making money from his interpretations of languages such as French, Spanish, Latin, and Portuguese. He also resided in the United Kingdom and Mexico. Merwin interpreted Sir Gaivain and the Green Knight, Alighieri's Purgatorio, The Poem of the Cid, and The Song of Roland. A Mask for Janus, Merwin’s earliest writing, was selected by W. H. Auden for the 1952 print in the Yale Series of Younger Poets. The Miners Pale Children (1970) is the first edition of poems that looks unpoetical. The lack of dot and comma in most of Merwin’s works makes his statement clear that he thinks these are obviously a sign of obedience to the procedures of nonpoetic writings and printed sentences. Not using these characters like dot and comma makes the sentences alive with their soundings and movements. Louise Gluck added ''The Stranger'' to the Best American Poetry 1993, and then Merwin told that he has the unpoetical short version of the myth which is in ‘’The Stranger’ ’and made an effort to reform it to sound like Guarani. The Guarani are Indians of the jungles at the center of South America, the crossing point of Paraguay, Brazil, and Bolivia. American Southwest Hopi is similar to South America Guarani: the gallery of history, collection of arts, and a big area for the religious life of that district (Lehman & Brehm, 2006).

Deep Image Poetry: Conclusion

In conclusion, this paper gives a description of deep image poetry and information about related writers such as Robert Bly, James Wright, Gallway Kinnel, and W.S. Merwin. It also covers topics such as surrealism, myths, and proses. Still today, in some poems, we see deep image method and poets use it effectively.


Hacht, A. M., & Hayes, D. D. (2009). Gale contextual encyclopedia of world literature.

Detroit: Gale, Cengage Learning.

Kinnell, G. (2001). New selected poems. Boston: Houghton Mifflin.

Lehman, D., & Brehm, J. (2006). The Oxford book of American poetry. New York: Oxford University Press.

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