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Wallace Stevens

Wallace Stevens was born in Reading, Pennsylvania, on October 2, 1879. He attended Harvard University as an undergraduate from 1897 to 1900. He planned to travel to Paris and work as a writer, but, after working briefly as a reporter for the New York Herald Times, he decided to study law. Stevens graduated with a degree from New York Law School in 1903 and was admitted to the bar the following year. He practiced law in New York City until 1916.

Though Stevens was focused on his legal career, he was also part of New York’s literary community. He had several friends among the writers and painters in Greenwich Village, including William Carlos Williams, Marianne Moore, and E. E. Cummings. In 1914, under the pseudonym “Peter Parasol,” he sent a group of poems under the title “Phases” to Harriet Monroe as entries for a war poem competition hosted by Poetry magazine. Stevens did not win the prize, but Monroe published his work in November of that year.

Stevens moved to Connecticut in 1916, having found employment at the Hartford Accident and Indemnity

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Wallace Stevens

American poet (1879–1955)

Wallace Stevens (October 2, 1879 – August 2, 1955) was an American modernist poet. He was born in Reading, Pennsylvania, educated at Harvard and then New York Law School, and spent most of his life working as an executive for an insurance company in Hartford, Connecticut.

Stevens's first period begins with the publication of Harmonium (1923), followed by a slightly revised and amended second edition in 1930. It features, among other poems, "The Emperor of Ice-Cream", "Sunday Morning", "The Snow Man", and "Thirteen Ways of Looking at a Blackbird".^[1] His second period commenced with Ideas of Order (1933), included in Transport to Summer (1947). His third and final period began with the publication of The Auroras of Autumn (1950), followed by The Necessary Angel: Essays On Reality and the Imagination (1951).

Many of Stevens's poems, like "Anecdote of the Jar", "The Man with the Blue Guitar", "The Idea of Order at Key West", "Of Modern Poetry", and "Notes Towards a Supreme Fiction", deal with the art of making ar

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Stevens, in 1954: the quintessential American poet of the twentieth century.Illustration by John Gall; Source: Bettmann Archive / Getty (Photograph)

Paul Mariani’s excellent new book, “The Whole Harmonium: The Life of Wallace Stevens” (Simon & Schuster), is a thrilling story of a mind, which emerges from a dispiriting story of a man. It’s hard to think of a more vivid illustration of T. S. Eliot’s principle of the separation between “the man who suffers and the mind which creates.” For most of his life, Stevens was an elaborately defended introvert in a three-piece suit, working as a Hartford insurance executive. He came slowly to a mastery of language, form, and style that revealed a mind like a solar system, with abstract ideas orbiting a radiant lyricism. Mariani persuasively numbers Stevens among the twentieth-century poets who are both most powerful and most refined in their eloquence, along with Rilke, Yeats, and Neruda. He is certainly the quintessential American poet of the twentieth century, a doubting idealist who invested slight subjects (the weather, often) wi