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  1. Snyder’s prose expands his sense of social purpose and reveals the series of interests and concerns that have sparked his poetry. In The Practice of the Wild, published in 1990, Snyder muses on familiar topics such as environmental concerns, Native American culture, ecofeminism, language, and mythology.

  2. ONE of America's greatest living poets finds no conflict between science and literature. Science, particularly ecological science, has been for Pulitzer Prize-winning poet and essayist Gary Snyder a rich source of knowledge and inspiration that has shaped not only his ideas about nature but also about society and art.

  3. prehensive understanding of the ecological relevance of poetry and poetics that, in spite of their considerable differences, constitutes the basis for our study of ecopoetical poems by Berry and Snyder.

  4. en.wikipedia.org › wiki › Gary_SnyderGary Snyder - Wikipedia

    Gary Snyder (born May 8, 1930) is an American poet, essayist, lecturer, and environmental activist. His early poetry has been associated with the Beat Generation and the San Francisco Renaissance and he has been described as the "poet laureate of Deep Ecology". Snyder is a winner of a Pulitzer Prize for Poetry and the American Book ...

  5. Gary Snyder is a rarity in the United States: an immensely popular poet whose work is taken seriously by other poets. He is America's primary poet-celebrant of the wilderness, poet-exponent of environmentalism and Zen Buddhism, and poet-citizen of the Pacific Rim—the first American poet to gaze almost exclusively west toward the East, rather ...

  6. Snyder, Gary. "Poetry and the Primitive: Notes on Poetry as an Ecological Survival Technique". Symposium of the Whole: A Range of Discourse Toward an Ethnopoetics, Berkeley: University of California Press, 2016, pp. 90-98. https://doi.org/10.1525/9780520966345-022

  7. My discussion of Snyder's poetry is in four parts. Part one treats his fairly rhetorical rejection of some aspects of the discourse of mainstream Western culture; part two, his identification with the silenced voices of what that culture defines as Other; and part three, the use of metaphors for a