A photocopy of the letters of Robert Duncan to Robert Creeley (an addition to the originals) are in a separate box and may be paged as accession 2005-348.
Open for research; material must be requested at least 36 hours in advance of intended use. Accessions 2001-143 (45 linear feet), 2005-073 (17 linear feet), 2005-319 (6 linear feet), and 2011-036 (25 linear feet) are closed until processing is complete. Accessions 2007-082, 3.5 linear feet, and 2009-027, .5 linear foot; are open for research with individual listings available in the department. Accession 2012-053, born digital material, is closed until processed.
Personal and professional correspondence, journals, business records, personal mementos, clippings, artwork, computer files and other documents generated and collected by Creeley from 1950 to 2005.
Recognized as a seminal figure of American letters in the second halfof the 20th century, Robert White Creeley was born in Arlington, Massachusetts, on May 21, 1926, attended the Holderness Schooland then Harvard College. He received degrees from The BlackMountain College (B.A., 1956) and the University of New Mexico (M.A., 1960).
After serving as an ambulance driver for the American Field Service in India and Burma, then living for a year outside Aix-en-Provence, France, Creeley moved in 1952 to Mallorca, where he founded and edited the Divers Press. Upon his return to the United States and at the invitation of Charles Olson, Creeley moved to North Carolina where he joined the faculty of the Black Mountain College and edited the short-lived but highly influential journal, The Black Mountain Review (1954 -1957).
Though he left the college in 1955, Creeley had already established himself as one of the leading figures of theliterary avant-garde of the 1950s, establishing with Charles Olson the "Black Mountain School, " the foundation of Projective Verse, a break from the New Criticism and its "insistence on form as extrensic to the poem. He is notable for having established a lasting association with his literary mentors-Pound, Williams, Zukofsky, Bunting, and Dahlberg, among others-as well as those poets, writers and visual artists associated with the experimental arts of Black Mountain and the 1950s avant-garde. Among these are Paul Blackburn, JohnChamberlain, Francisco Clemente, Cid Corman, Fielding Dawson, Jim Dine, Elsa Dorfman, Ed Dorn, Robert Duncan, Robert Indiana, R.B. Kitaj, Denise Levertov, Marisol, and especially Charles Olson, with whom Creeley corresponded extensively and collaborated on Mayan Letters (1953). Creeley was also a presence in the San Francisco poetry renaissance, where he formed a life-long associationwith Barth, Corso, Ginsberg, Kerouac, and McClure. Creeley iscurrently the SUNY Distinguished Professor of English and holds the Samuel P. Capen Chair of Poetry and Humanities at the StateUniversity of New York, Buffalo, a center of innovation and postmodern poetics, particularly that or those of the so-called"L-A-N-G-U-A-G-E" poets.
While his oeuvre includes short stories, essays, a novel, as well ascriticism, Creeley is known principally as a poet. His friend and fellowpoet John Ashbery has said of Creeley and his work, "He is the bestwe have." He has published over thirty volumes of verse since 1952, including: Words (1967); Pieces (1969); St. Martin's (1971); A DayBook (1972); Thirty Things (1974); Presences : A Text for Marisol(1976); Away (1976); Echoes (1982); Mirrors (1983); MemoryGardens (1986); and Windows (1990). His most recent collectionsof poems are Echoes (1994), published by New Directions, andLoops (1995), published by Nadja. Among his collections of poemsare: For Love : Poems, 1950-1960 (1962); Poems 1950-1965(1966); The Charm (1971); The Finger : Poems 1966-1969 (1970); The Door : Selected Poems (1975); Selected Poems (1976); The Collected Poems of Robert Creeley, 1945-1975 (1982); and Selected Poems 1945-1990 (1991).
Finding aid available in Special Collections Reading Room and online.