WELDON KEES


That sense of private discovery and secret knowledge and admiration is the source of my continuing interest. I wouldn't be sorry to see it remain that way in part.

Donald Justice,
on how to appreciate Weldon Kees

Pick up the pieces,
Throw them away, say amen,
Because like Humpty Dumpty,
I can't be put back together again.

Weldon Kees,
from his song "Pick Up The Pieces"
Weldon Kees scraping off material for texturizing one of his canvases. (Click to see a larger image.)

 

Read "The Disappearing Poet" by Anthony Lane in The New Yorker

The poet Weldon Kees was born in Beatrice, Nebraska, on February 24, 1914. His work places him with Robert Lowell, Elizabeth Bishop, John Berryman, Kenneth Rexroth, and other poets of their generation. Kees's work is less well known. Yet he is at once a coterie figure and a poet included in Harold Bloom's "canon." The reasons for this start with how Kees saw himself when his first book, The Last Man (1943), was published. In a letter to his friend and editor, Norris Getty (of Waco, Nebraska), he felt more comfortable with the modernism of the past and the effect of his disassociation still contributes to the problem of where he figures in American poetry:

I must say I feel too little sense of "belonging" with my immediate contemporaries, with the exception of four or five guys. It's so easy, don't you think, to feel a sense of identification with the men of the Pound-Eliot generation, or even the Hart Crane-Tate-Horace Gregory generation, rather than the present gang, with its Rukeysers and Shapiros and John Frederick Nimses.

Kees was born to Sarah and John Kees, the owner of a hardware factory in Beatrice. Their son showed a precocious interest in writing, piano, and art. In the 1920s, while still a boy, he published his own movie magazines, which he filled with stories, poems, and facts about his favorite Hollywood stars. The early influence of motion pictures can be seen in poems like "Subtitle" and in the closure of "1926" (MP3), Kees's autobiographical poem, in which he returned to an autumn evening on North 5th Street in Beatrice to see that everything that was going to happen was already present in the idyllic small town of his youth:

The porchlight coming on again,
Early November, the dead leaves
Raked in piles, the wicker swing
Creaking. Across the lots
A phonograph is playing Ja-Da.
An orange moon. I see the lives
Of neighbors, mapped and marred
Like all the wars ahead, and R.
Insane, B. with his throat cut,
Fifteen years from now, in Omaha.
I did not know them then.
My airedale scratches at the door.
And I am back from seeing Milton Sills
And Doris Kenyon. Twelve years old.
The porchlight coming on again.

One of Kees's playmates was Spangler Arlington Brugh, better known as the actor Robert Taylor, whom he followed to Doane College in 1931. Kees, in search of courses in creative writing, went on to the University of Missouri, and finally found a literary circle around Lowry C Wimberly, the editor of Prairie Schooner and an English professor at the University of Nebraska, from which Kees graduated in 1935. Like many young writers in the 30s, Kees wanted to be the next Hemingway, Wolfe, or Faulkner. This romantic and American aspiration, however, eluded him. He wrote several novels, which were considered promising by the editors who sent them back because of their lack of "uplift" and outré content. He had more success with his short fiction and published over forty short stories from 1934 to 1945. Kees began to write poetry seriously at about the time that he started working for the Federal Writers' Project in Lincoln, where he met Norris Getty. With Getty for a reader, Kees rapidly matured as a poet and became widely published during the last years of the Depression. Kees lived in Denver from 1937 to 1943. There he married Ann Swan, who would be his helpmate through most of his literary career. By the time the Second World War broke out, Kees had already visited New York and made important connections to the literary operators behind The Partisan Review, New Directions, and the like. When Knopf rejected his novel Fall Quarter, Kees, in 1942, for the most part abandoned fiction.

Fearing he would soon be drafted, Kees relocated to New York in 1943. What he thought would be a temporary stay lasted until 1950. While living in New York, and later in Brooklyn, Kees wrote for Time Magazine and Paramount's newsreel service, and published numerous reviews in The New York Times Book Review, The Nation, and The New Republic, many of which are collected in Reviews and Essays, 1936-55 (1988). Kees took up painting and figured in the establishment of the Abstract Expressionist movement and he published his second volume of poems, The Fall of Magicians (1947), which included "Robinson" (MP3), the first of four persona poems that featured Kees's New Yorker Man, three of which first appeared in that magazine:

The dog stops barking after Robinson has gone.
His act is over. The world is a gray world,
Not without violence, and he kicks under the grand piano,
The nightmare chase well under way.
The mirror from Mexico, stuck to the wall,
Reflects nothing at all. The glass is black.
Robinson alone provides the image Robinsonian.
Which is all of the room walls, curtains,
Shelves, bed, the tinted photograph of Robinson's first wife,
Rugs, vases panatelas in a humidor.
They would fill the room if Robinson came in.
The pages in the books are blank,
The books that Robinson has read. That is his favorite chair,
Or where the chair would be if Robinson were here.
All day the phone rings. It could be Robinson
Calling. It never rings when he is here.
Outside, white buildings yellow in the sun.
Outside, the birds circle continuously
Where trees are actual and take no holiday.

Robinson expresses the estrangement Kees felt with his life in New York, an estrangement that could not be ameliorated by his summers in Provincetown's art colony. In October 1950, Weldon and Ann Kees drove cross-country to San Francisco. There, Kees collaborated on behavioral science films with the anthropologist Gregory Bateson and the book Nonverbal Communication (1956) with the psychologist Jurgen Ruesch. He also made art films, continued to paint and exhibit, and write poems. When his last book, Poems 1947-1954 (1954), was published, Kees had divorced Ann, become dependent on amphetamines, and entered into many different "cultural ventures," including a film review program on radio, which featured Pauline Kael; a literary-bohemian stage review, Poets Follies; a film company, for which he wrote screenplays; a theatrical enterprise that entailed restoring a theater and writing plays; and numerous collaborations with Bay Area jazz and blues musicians. Despite his efforts to extend the Jazz Age Bohemia and Avant Garde of the 20s and recreate the enchantment that movies had given him in his youth Kees was overwhelmed by depression during June and July 1955. He told a friend that he wanted to start a new life in Mexico, a land that fascinated him because Hart Crane, Malcolm Lowry, and other writers had found there an escape from America. Kees also told the same friend that he had also tried to jump from the Golden Gate Bridge, the place where his car was found on July 18.

Save for a few anthology appearances, the three editions of The Collected Poems of Weldon Kees (1960, 1962, and 1975), with its introduction by Donald Justice, have preserved Kees's reputation. Since 1983, however, his life and work has enjoyed a reclamation. Columbia (1983), the literary journal of Columbia University, issued the first selection of Kees's fiction. It was followed by The Ceremony and Other Stories (1984), selected by Dana Gioia. Weldon Kees: A Critical Introduction (1985) featured essays about Kees and a bibliography by Bob Niemi. Kees's letters were gathered together by Robert E Knoll in Weldon Kees and the Midcentury Generation (1986). Reviews and Essays, 1936-55 (1988), edited by James Reidel, with an introduction by Kees's friend, Howard Nemerov, presents Kees as a reviewer and cultural critic. Mr Reidel also edited and introduced Kees's academic comedy, the novel Fall Quarter (1990) and helped the Watershed Foundation produce Land's End (1992), rare archival recordings of Kees reading his poetry.

Kees's reputation has also flourished abroad. In 1993, BBC2's Bookmark program aired Looking for Robinson, a documentary by Daisy Goodwin, in which the English poet Simon Armitage traveled across the United States in a kind of road movie rediscovery of Kees's world in New York, Beatrice, Lincoln, and San Francisco. Kees has also found an audience in the Netherlands — perhaps because of his Dutch-sounding name — where his poetry has been translated and placed on the World Wide Web at various times.

Presently, a biography by James Reidel is being prepared for publication in the near future. The University of Iowa will sponsor an NEH-funded symposium on Kees and an exhibit of his paintings. The head of the Kees project, Dr Stephen C Foster of the University of Iowa's Program for Modern Studies, will edit a companion monograph that will include contributions by several scholars. Also at Iowa, the Windover Press at the Center for the Book will print a chapbook of previously unpublished Kees poems.

                                                                                                               James Reidel




Vanished Act: The Life and Art of Weldon Kees
by James Reidel

The first biography is now available from Amazon.com, Barnes & Noble, Borders, and other popular booksellers, including its publisher, The University of Nebraska Press.

"Reidel's two decades of scholarship fleshes out the details in the life of this enigmatic 20th-century writer and artist." — Kirkus Reviews

More information about the Book
Vanished Act Errata and Revisions



Applause
by Weldon Kees


"Applause" has not been reprinted in any of the collections of Kees's short fiction. It was first published in the Summer 1939 issue of Prairie Schooner.

Everything was just as it should be. It had been a good day at the office, things were picking up, and here he was now, in his own room in his own house, fresh from a cold shower, his face tingling from shaving lotion. On the bed were the clothes he had laid out: a freshly-pressed suit and a new shirt. Conlee stood for a moment looking out of the window at the cars that were going by, and then he began to get ready. While he dressed, he kept thinking of the lecture he was going to that evening. For years he had hoped that some day he might hear Walter F. Hoke, whose books had meant so much to him. Buttoning his shirt, Conlee remembered when he had first read Life's What You Make It, and the inspiration he had felt for weeks. Frank Gruening had told him about that book; he had recommended it to him.
And he, Ira Conlee, had been the one responsible for Walter F. Hoke's coming here to speak this evening. When he had heard, months before, that the Junior League was planning a lecture series, he had phoned Lillian Jennings, the head of the committee, urging her to get Walter Hoke. He was on a lecture tour. They couldn't possibly make a better choice than Walter Hoke, he had said. And that's the way it had worked out, and tonight, in just a little while, he would be listening to Walter Hoke's voice.
When he had finished dressing, he stood in front of the long mirror and threw his shoulders back and turned slowly from one side to the other, He looked all right. He hummed a little as he went downstairs.
His wife was sitting under a bridge-lamp darning some socks; she looked up. "Ready?"
"All ready to go," he said. "You?"
"Any time." She put down her work. "It's almost eight."
"Well, we better get a move on. I want to get a good seat." She got up and started putting on her hat, tucking in stray ends of hair. "Oh, Ira, don't forget the books," she said.
"Huh?"
"The books. Mr. Hoke's. You were going to get him to autograph them after the lecture, weren't you?"
"Say, I nearly forgot!" He went to the bookcase and took out Life's What You Make It and Making a Go of Living. "It's a good thing you reminded me," he said. "I darn near forgot about them."
"You'd forget your head if it wasn't fixed on," his wife said.
"Oh, yeh?"
He locked the front door and tried the knob, and then they went out to the car. As they drove down to the auditorium, his wife went on at some length about the neighbor's dog getting in her flowerbed, and he grunted occasionally to let her know that he was listening. But it was difficult to pay attention with his mind on the lecture. What would Walter Hoke be like? He had seen pictures of him, of course, but he had no idea of his height or build, what kind of lecturer he was, or anything like that. His wife's voice went on steadily, repeating something about a dog in a flowerbed, and he knew from the tone of her voice that she wanted sympathy.
"That's tough," he said.
"An animal like that should be penned up and that's all there is to it," his wife said.
He steered the car into a parking lot near the auditorium.
"You remembered the tickets, didn't you?" his wife asked.
He felt in his vest pocket. "Got them right here," he said. ‘You think I forget everything."
They had arrived just in time. As they entered the large hall, The president of the Junior League was beginning to speak. The lights, except for those oN the stage, had been turned off. Conlee was disappointed to see that the place was only about three-fourths filled. He thought that it was a shame that the people in his own town couldn't turn out in larger numbers when a man with Walter Hoke's reputation came to speak.
They found seats near the center and leaned back to listen to the president of the Junior League, a thin woman in a black evening gown. On the stage, with a pitcher of water and a glass on the table before him, was Walter F. Hoke. He looked a lot like his pictures, Conlee thought, only fatter. He had thought of him as a thinner man.
When the Junior League president finally introduced Hoke, Conlee, applauded longer than anyone else. And while he was striking his hands together noisily, he noticed that the man in front of him was not applauding. It was rather dark, and Conlee could not see very well without his glasses, but there the man sat, not applauding at all, not making a sound. Everyone else was applauding. It made Conlee angry. It made him go on, clapping his hands harder and faster. It was irritating to think that a man would just sit there and not applaud a great figure like Walter Hoke.
After the applause had died away, Walter Hoke began to speak. As the lecture progressed, Ira Conlee told himself that he was even better to listen to than to read. Such a rich, forceful voice, and the way he illustrated his points with funny stories. A marvelous personality, Conlee thought, really about the best speaker he had ever heard.
"He's sure good, isn't he?" he whispered to his wife. He relaxed, perfectly at ease except for the dying anger he felt for the man in front of him, listening to the smooth flow of words that came from the platform. From time to time he laughed heartily at something Hoke said; other times, he hunched forward in his seat, his mouth drawn and anxious. It gave him a special sense of importance to look over the heads of the people in the audience and think that it was actually to him that gratitude was due: if he hadn't mentioned Hoke's name to Lillian Jennings, none of them would have been there, hearing such an excellent lecture.
The lecture was almost over before he realized how much time had passed. Hoke was coming to the concluding part of his speech, summing up what he had said, re-scoring his points. And when he finally made a short bow and said, "I thank you," and went back to the table and poured a glass of water, Conlee was the first to applaud. There was the single slap of his hands striking, and then, all around him, applause broke in a steady harsh wave. In front of him, the same man sat, not moving, Conlee bit his lower lip. How in the hell did that man get off, he thought, just sitting there, not being appreciative enough to applaud? It made him sore, got under his skin, and before he knew just what he was doing, he leaned over and touched the man on the shoulder and said angrily, "What's the matter with you anyway, buddy?"
The man turned his head slowly and looked at Conlee for an instant. Conlee was trembling with exasperation, knowing that his wife had stopped clapping and was watching him. He was boiling inside. Imagine a person listening to a wonderful speech like that, and just sitting there, probably sneering at Walter Hoke. Some cynical no-account, who was totally lacking in any kind of spirit, and didn't have anything better to do than to sneer at fine men like Walter Hoke.
"What's the matter with you, Ira?" his wife asked.
"Nothing's the matter with me!" he said loudly. He wanted the man in front of him to hear. "There's certainly something the matter with certain other people around here, though!"
The applause was dying away now, and people began to stand up. A hum of voices grew in the hall. The house lights came on, dimly at first, and then bright and glaring.
Then Conlee got a good look at the man who had been sitting in front of him. He was standing now, looking at Conlee with an expressionless face. He was a young man with a sallow complexion and dark eyes, and he wore a dark suit with a small pinstripe. The left sleeve of his coat hung limply from his shoulder, and was pinned neatly at the elbow. The empty sleeve hung loosely, swinging lightly against his side.
Conlee looked away. The blood was rushing to his face, and he felt a horrible sinking in his stomach. He knew that his wife was beside him, her mouth open and ready to speak. Whatever she said would be the wrong thing,
The man was gone. Conlee felt powerless, as though he would never be able to move again. People crowded the narrow aisles, their voices growing, buzzing in the room, and he felt that all of them were staring at him. The books by Walter Hoke had fallen to the floor, and he looked at them stupidly.
His wife's voice, when it came, was cold and distant.
"Come on, Ira," she said.


redball.gif Kees Sidebars
redball.gif Three Exhibits
redball.gif Kees Broadcast
redball.gif Kees Reciting
redball.gif A Gallery of Weldon Kees Photos
redball.gif Buy a Book
redball.gif Writers On-Line




No material from this web site may be reproduced without the express written consent of James Reidel.



Return
to
The Rock

Nebraska Center for Writers