Photographers Unknown, Food for Fire, Food for Thought
good wood
that all fiery youth bust forth from winter,
go to sleep in the poem.
Who will remember thy green flame,
thy dream’s amber?
Language obeyd flares tongues in obscure matter.
We trace faces in clouds: they drift apart.
Palaces of air. The sun dying down
sets them on fire.
Descry shadows on the flood from its dazzling mood,
or at its shore read runes upon the sand
from sea-spume.
This is what I wanted for the last poem.
A loosening of conventions and return to open form.
Leonardo saw figures that were stains upon a wall
Let the apparitions containd in the ground
play as they will.
You have carried a branch of tomorrow into the room.
Its frangrance had awakend me. No. .
It was the sound of a fire on the hearth
Leapd up where you bankd it
. . .sparks of delight. Now I return the thought
to the red glow, that might-be-magical blood,
palaces of heat in the fire’s mouth,
If you look you will see the salamander–
to the very elements that attend us,
fairies of the fire, the radiant crawling. .
That was a long time ago.
No. They were never really there,
though once I saw–did I stare
into the hear of desire burning
and see a radiant man? like those
fancy cities from fire into fire falling.
We are close enough to childhood, so easily purged
of whatever we thought we were to be.
Flamey threads of firstness go out from your touch,
flickers of unlikely heat
at the edge of our belief bud forth.
Robert Duncan, Food for Fire, Food for Thought, October 1959, Poetry, Volume 95, Number 1
Born at Oakland, California in January of 1919, Robert Edward Duncan was an American poet and a follower of Hilda Doolittle, a modernist poet who, with Ezra Pound, co-founded the Imagist group of poets. Duncan 
featured prominently in the histories of pre-Stonewall gay culture, bohemian communities of the Beat Generation, and cultural movements of the 1960s.
Born the tenth child of Edward Howard Duncan and Marguerite Pearl Wesley, Robert Duncan was adopted after the death of his mother by Edwin and Minnehaha Symmes. The prominent architect and his wife were a Theosophist family who embraced the spiritual teachings of Western esotericism as founded by Russian-American mystic and writer Helena Blavatsky. Robert Duncan grew up in a stable environment with new parents interested in both the occult and social community projects.
Encouraged by an English high school teacher, Duncan chose poetry as a vocation while still in his teens. After the death of Edwin Symmes in 1936, he began his studies at the University of California, Berkeley. While in his sophomore year, Duncan met graduate student Neo 
Fahs and entered into his first recorded homosexual relationship that lasted until 1940. While living in New York City with Fahs, he met many literary figures including playwright Arthur Miller and French-born essayist and writer Anaïs Nin.
During 1938, Robert Duncan briefly attended North Carolina’s Black Mountain College, an experimental educational project that became known for its artists and post-modernist poets. When he was drafted for military service in 1941, Duncan declared his homosexuality and was discharged. He became a prominent figure in the history of pre-Stonewall gay culture with his 1944 essay “The Homosexual in Society” published in editor and publisher Dwight Macdonald’s “Politics”, an outspoken magazine with articles by such notables as George Orwell, Lionel Trilling, and Mary McCarthy.
Duncan relocated to San Francisco in 1945 where he became friends with poets Helen Adam and Kenneth Rexroth as well as painter Lyn Brockway. He returned to U.C. Berkeley where he studied Medieval and Renaissance literature, eventually becoming a shamanistic figure in the artistic and poetry circles of San
Francisco. Duncan’s first book, “Heavenly City Earthly City”, a collection of verse that reflected his admiration for the metaphysical work of British poet George Barker, was published by writer and physicist Bernard Porter’s newly founded Ben Porter Books in 1947.
In 1950, Robert Duncan met painter and collagist Jess Collins and began a relationship that would last thirty-seven years until Duncan’s death. They took marriage vows and settled in a historic Victorian home in San Francisco’s Mission District. Duncan began to publish his work regularly in the early 1950s and taught at Black Mountain College during 1956. His artistic and critical success occurred in the 1960s with the publishing of three volumes of poetic work: “Opening the Field” in 1960, the 1964 “Roots and Branches”, and “Bending the Bow” in 1968.
After the publication of his “Bending the Bow”, Duncan vowed not to publish another major collection for fifteen years. In 1984, his next major work “Ground Work I: Before the War” won the National Poetry Award. The concluding volume of Duncan’s 
poems, “Ground Work II: In the Dark”, taken as a whole was proposed by him in 1968 and later published in 1987.
Robert Duncan’s poetry is one of process not conclusion. It is considered Modernist for his inclination towards the impersonal, mythic and canonical styles; however, it is also seen as Romantic due to its organic, lyric and forward-wandering journey. Beginning in the 1960s, Duncan’s work was influenced by both “projective verse”, poetry that is shaped by the rhythms of the poet’s breath, and “composition by field”, the use of the page as a field of language beyond traditional margins and spacing. His work includes short lyrical poems and recurring sequences of prose poems, both of which draw inspiration from the poetic work of Walt Whitman, Ezra Pound, William Carlos Williams, and particularly that of modernist Charles John Olson and the Black Mountain School of poetry.
One of the most influential of the postwar American poets, Robert Duncan died in San Francisco in 1988 after a long battle with kidney disease. He was survived
by his partner Jess Collins who died in January of 2004 at the age of eighty. Duncan’s papers are housed at the State University of New York-Buffalo and the Special Collections and Archives of Kent State University.
“There is a natural mystery in poetry. We do not understand all that we render up to understanding. . . I study what I write as I study out any mystery. I work at language as a spring of water works at the rock, to find a course, and so, blindly. In this I am not a maker of things, but, if maker, a maker of a way. For the way is itself.”—Robert Duncan, Notebook published in Donald Allen’s “The New American Poetry: 1945-1960”, First Edition, 1960, Grove Press, New York
Notes: The Archives of American Art has an online copy available for public viewing of Robert Duncan and Jess Collins’s scrapbook for Patricia Jordan at: https://www.aaa.si.edu/uv/index.html?manifest=https://www.aaa.si.edu/manifest/edanmdm:AAADCD_item_11139&c=0&m=0&s=0&cv=0&config=uv-config.json&locales=en-GB:English%20(GB)
Second Insert Image: Original Cover for Robert Duncan’s “Roots and Branches”, 1964, New Directions Publishing, New York
Third Insert Image: Jess Collins, Original Collage Illustration for Robert Duncan’s “The Opening of the Field”, 1960, Private Collection
Fourth Insert Image: Robert Duncan, “Bending the Bow”, 1968, 1st Edition, Publisher New Directions, New York
Bottom Insert Image: Jonathan Williams, “Robert Duncan”, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library
and other cityscapes. He began his art studies with evening classes at the Arts Student League in 1913. Schnakenberg’s experience of attending the 1913 International Exhibition of Modern Art at the city’s 69th Regiment Armory on Lexington Avenue, known now as the Armory Show, solidified his desire to be an artist. After that exposure, he began full-time classes at the League, that continued as three years of study under painter and printmaker Kenneth Hayes Miller.
the League’s president in 1932. In addition to his teaching, he wrote essays and reviews throughout his career for art magazines.
