Denise Levertov (1923–1997) stands out as one of the most significant 20th-century British poets, whose work resonates within the tradition of both British and American poetry. She made profound contributions through her poetry’s depth of thought, spiritual awareness, and reflections on the social and political climate of her time. Her writing spans a range of themes, from personal identity and family life to the complexities of war, political activism, and spirituality. What sets Levertov apart is her ability to transcend national boundaries, moving seamlessly between British and American literary landscapes.
In this article, we will explore Levertov’s life, work, poetic style, and her lasting impact on both British and American poetry. We will look at her early influences, the evolution of her poetic voice, and how her later work, especially her more socially and politically engaged poetry, defined her legacy as a major figure in 20th-century poetry. By analyzing her style, themes, and major collections, we aim to understand why Levertov’s work remains relevant and influential today.
Early Life and Influences
Denise Levertov was born in Ilford, Essex, England, on October 24, 1923, to a Welsh mother and a Russian-Jewish father. Her early life in England was marked by intellectual curiosity, artistic engagement, and a deep sense of place. Growing up in a household surrounded by literature and music, Levertov was encouraged to pursue her creative interests. Her mother, who was a piano teacher, and her father, a Yiddish-speaking intellectual, both influenced her worldview and fostered an appreciation for culture.
Levertov’s early years were shaped by the turbulence of World War II. The impact of the war on British society, as well as her personal experiences, became important sources of reflection in her later poetry. During her youth, Levertov became familiar with British writers such as T.S. Eliot, W.B. Yeats, and D.H. Lawrence, whose works left lasting impressions on her. Her early exposure to these figures in British poetry helped form the foundation of her own poetic identity.
In 1948, Levertov moved to the United States with her husband, the American poet Mitchell Goodman, who was a significant influence on her. This move marked a shift in Levertov’s personal and professional life, as she began to immerse herself in the American literary scene. It also marked the beginning of her transformation into a prominent figure in American poetry.
Levertov’s life in America opened up new creative possibilities, and she became influenced by a wider range of poets. The American Modernist movement, along with the work of poets like William Carlos Williams and Robert Duncan, shaped her developing style. Moreover, the political and cultural context of post-World War II America brought new themes into her work, including social justice, anti-war sentiment, and the questioning of political authority.
Poetic Style and Themes
Denise Levertov’s poetry exhibits a remarkable versatility and an evolution from more traditional forms to more experimental, free-verse forms. Her early work was heavily influenced by the Romantic tradition, yet over time she began to engage with the modernist techniques of fragmented, non-linear expression. Her poetry is known for its emotional intensity, lyrical quality, and a deep engagement with nature and spirituality.
Early Work and the Influence of Romanticism
Levertov’s early poetry was greatly influenced by her background in English literature, particularly the Romantic poets. In her first collection, The Double Image (1946), she used formal structures and traditional verse forms, aligning her early work with the lyricism of poets such as Keats and Shelley. The tone of these early poems is often personal and reflective, expressing the inner thoughts and feelings of the poet. Levertov’s fascination with nature, love, and personal identity is already evident, themes that would remain central throughout her career.
Transition to Free Verse and the Influence of Modernism
As Levertov’s poetic voice matured, she began to move away from rigid formalism and embraced free verse. This shift allowed her to express her ideas more fluidly and with greater emotional resonance. The work of American Modernists, particularly William Carlos Williams and Charles Olson, greatly influenced her during this period. Williams’ imagistic style and commitment to local, everyday subjects inspired Levertov to focus more on the concrete world around her, using language to capture fleeting moments and sensory experiences.
Her second collection, With Eyes at the Back of Our Heads (1960), showcases this transition. In this work, Levertov begins to experiment with imagery and line breaks, demonstrating an evolving technique that drew on the American avant-garde tradition. While she maintained her focus on personal and emotional themes, her form became looser and more flexible, allowing her to capture the texture and complexity of her thoughts and feelings.
Political and Social Engagement
One of the most defining characteristics of Levertov’s work is her deep engagement with social and political issues. By the 1960s, her poetry began to reflect her growing concerns with the social and political climate, particularly in response to the Vietnam War and the Civil Rights Movement. Levertov was not afraid to speak out on issues such as injustice, war, and the abuse of power, and she became a vocal advocate for peace and human rights. Her opposition to the Vietnam War, in particular, is evident in her poetry from this period, where she adopts a more direct and urgent tone.
In collections like The Sorrow Dance (1971) and Poems 1960-1967 (1967), Levertov’s poetry takes on a more political character. Her verse became a vehicle for protest, but it also engaged with broader ethical questions about the human condition. Through poems such as “Making Peace” and “The Vietnam War,” Levertov addresses the deep moral and emotional costs of conflict and the need for humanity to seek peace. These poems marked her as a socially conscious poet, concerned with the world beyond the confines of the personal and the spiritual.
Major Collections and Works
Throughout her career, Denise Levertov published numerous poetry collections, each marking a different phase in her development as a poet. Some of her most influential and important works include:
The Double Image (1946): Levertov’s debut collection, which blends traditional lyricism with a personal, introspective quality. Early themes of nature and identity emerge here, setting the stage for her later explorations.
With Eyes at the Back of Our Heads (1960): This collection marks her transition to free verse and reflects her increasing interest in modernist experimentation.
The Sorrow Dance (1971): One of Levertov’s most politically engaged collections, this book reflects the tumultuous social and political atmosphere of the 1960s and 1970s. Poems like “The Vietnam War” and “Making Peace” are powerful statements on war and violence.
This Great Unknowing: Last Poems (1999): Published posthumously, this collection features Levertov’s final works, which explore themes of mortality, spirituality, and the poet’s relationship to the divine. These poems demonstrate Levertov’s deepened spiritual awareness and her continued exploration of the metaphysical.
In addition to her poetry collections, Levertov also wrote several books of essays and prose, including The Poet in the World (1981), which provides insights into her views on the craft of poetry and the role of the poet in society. These writings reflect her deep intellectual engagement with poetry and her belief in its power to effect change.
Spirituality and Religion in Levertov’s Work
A significant aspect of Levertov’s later work was her exploration of spirituality and religious themes. Raised in a secular household, Levertov initially distanced herself from organized religion, but over time she began to explore the spiritual dimensions of life. Her interest in spirituality deepened after her move to America, and in the 1970s, she began to embrace a form of mysticism that would inform much of her later poetry. The spiritual awakening she experienced during this period is reflected in works such as The Sorrow Dance and Collected Poems (1992).
Levertov’s spiritual poetry does not adhere to a particular dogma or religious tradition. Instead, it is deeply personal, shaped by her own experiences of wonder, loss, and transcendence. Her poems on spirituality often reflect a deep connection to nature, the divine, and the mysteries of the universe, and they demonstrate her belief in poetry’s capacity to bring us closer to something greater than ourselves.
Legacy and Impact
Denise Levertov’s contributions to 20th-century British poetry and American poetry are immense. Her ability to blend the personal with the political, the lyrical with the experimental, allowed her to resonate deeply with readers across generations and national boundaries. Levertov’s engagement with the social and political issues of her time, her commitment to peace, and her embrace of spirituality in her later years all make her an enduring figure in modern poetry.
Her influence can be seen in the work of younger poets, particularly those involved in social and political movements or in the exploration of spiritual themes. Levertov’s role as a woman poet, whose voice ranged from the deeply personal to the fiercely political, provided inspiration to countless writers seeking to give voice to marginalized perspectives.
Conclusion
In conclusion, Denise Levertov remains a central figure in the history of 20th-century British poetry and American poetry. Her work exemplifies the power of language to address not only personal experience but also to reflect the social, political, and spiritual dimensions of the world around us. Through her poetic voice, Levertov opened doors for future generations of poets, inspiring them to engage deeply with the world and to seek beauty and truth in both the quiet moments and the tumultuous events of life.
