David Russell Ferry (March 5, 1924 â November 5, 2023) was an American poet, translator, and educator. He published eight collections of his poetry and a volume of literary criticism. He won the National Book Award for Poetry for his 2012 collection Bewilderment: New Poems and Translations.
David Russell Ferry was born in Orange, New Jersey, on March 5, 1924. He attended Columbia High School amid the âÂÂwild hillsâ of suburban Maplewood, New Jersey, where he was raised. His undergraduate education at Amherst College was interrupted by his service in the United States Army Air Force during World War II. He ultimately received his B.A. from Amherst in 1946. He went on to earn his Ph.D. from Harvard University, and it was during his graduate studies that he published his first poems in The Kenyon Review.
From 1952 until his retirement in 1989, Ferry taught at Wellesley College where he was, for many years, the chairman of the English Department. He held the title Sophie Chantal Hart Professor Emeritus of English at Wellesley. He has also taught writing at Boston University, as well as Suffolk University, as a distinguished scholar. Ferry was elected a fellow of the American Academy of Arts and Sciences in 1998, and he was a fellow of the Academy of American Poets.
In 1958, Ferry married the distinguished literary scholar Anne Ferry (died 2006), they had two children, Elizabeth, an anthropologist, and Stephen, a photojournalist. Before moving to Brookline, Massachusetts, Ferry lived across the Charles River in Cambridge, in the house where 19th century journalist and women's rights advocate Margaret Fuller lived before she joined the Brook Farm community.
Ferry died in Lexington, Massachusetts on November 5, 2023, at the age of 99.
In 2000, Ferry's book of new and selected poems and translations, entitled Of No Country I Know, received the Lenore Marshall Poetry Prize from the Academy of American Poets and the Rebekah Johnson Bobbitt National Prize for Poetry from the Library of Congress (for the best work of poetry for the previous two years). He is the author of a critically praised verse rendering of the Mesopotamian Epic of Gilgamesh. The poet W. S. Merwin has described Ferry's work as having an "assured quiet tone" that communicates "complexities of feeling with unfailing proportion and grace."
Ferry is also a recipient of the Harold Morton Landon Translation Award.
In 2011, Ferry was awarded the Ruth Lilly Poetry Prize.
In 2012, Ferry was awarded the National Book Award for Poetry for his book Bewilderment (University of Chicago Press). Bewilderment was a finalist for the National Book Critics Circle Award (2012, Poetry).
For many years, David Ferry has been admired in the U.S. for his translations of Gilgamesh, Horace and Virgil. His original poetry has flourished in the shadow of this other work and he likes to juxtapose translations with his own poems in an acknowledgement of influence and tradition. Elegance, clarity, an avoidance of frills â the Horatian virtues â are important to him. He has written critically about Wordsworth and always intends to communicate with readers, approaching both translation and original work with a wise passivity, even humility, in pursuit of âÂÂthe heartbeat easy governance / Of long continued metrical disciplineâ (âÂÂA Thank-You NoteâÂÂ). This selection draws from his whole oeuvre, including âÂÂPoemâ (1960) which shows a young poet not wanting to howl or essay a barbaric yawp, but rather stiffly confined to New Formalist and Classical models, to inversion and Romantic lexis.
It was twenty three years before Ferry published his own poems again. âÂÂIn the Gardenâ suggests how elegance had now fused with vitality, formal skill with vivid responses to reality. The narrator sits reading Edward Thomas, engaged in âÂÂill-informed staringâ and observation nudges the poem forward: âÂÂThe green of these leaves is almost an absence of green, / And the stalks look like rays of light under waterâÂÂ. Later Ferry poems meander, seem to have little intent on the reader, but brim with details, move like music. He understands the more we attend, whether to language or world, the more we discover we have missed. In âÂÂThat Evening at DinnerâÂÂ, one of the guests struggles with her âÂÂgraceless leg, / The thick stocking, the leg braceâÂÂ. Yet the poem ends by gazing at books on shelves: âÂÂLine after line, all of them evenly spaced, / And spaces between the words. You could fall through the spaces.â Here Ferry interpolates lines from Samuel Johnson on âÂÂchasms infinitely deepâ that lie beneath the surface of things. It is not merely that âÂÂas the writer of âÂÂOld Manâ and âÂÂThe Gloryâ must have felt â we do not know these things, but that we do not have the âÂÂfacultiesâ to know them.
Over and over, Ferry alludes to this âÂÂsomethingâÂÂ, elusive partly as the result of the ambivalent gifts of time. âÂÂDown by the Riverâ describes a scene's âÂÂparticipial rhythm, // Flowing, enjoying, taking its own sweet timeâÂÂ. But it is the shifting liquidity of water that most vividly evokes the ineffable, Ferry's real subject. âÂÂLake Waterâ declares âÂÂThe plane of the water is like a page on which / Phrases and even sentences are writtenâÂÂ. Yet as the poet tries to compose, âÂÂThe surface of the page is like lake waterâ and later again all is âÂÂerased with the changing of the breezeâÂÂ. For all their elegance and plain-speaking, these poems are marvellously unstable, modern, poignantly facing up to the limits of the faulty equipment we are given to understand the world. âÂÂThe Intention of Thingsâ gently devastates with the idea that âÂÂdeath lives in the intention of things / To have a meaningâÂÂ. Lesser poets might be reduced to silence, or tear language to shreds, but Ferry's provisional songs instruct, console, distract, remain to be admired. His collection, Bewilderment: New Poems and Translations, won the 2012 National Book Award: a fitting tribute to this 89-year-old outstanding poet, still singing âÂÂlike the birds that gather in VirgilâÂÂs lines / In the park at evening, sitting among the branchesâ (âÂÂThe BirdsâÂÂ).
In 2017 his translation of Virgil's Aeneid, published at the age of 93, was reviewed at length by the academic and poet April Bernard in the New York Review of Books. She considered that, "he has some sort of uncanny connection to the great poet [i.e. Virgil ]", and suggested his translation was superior to those of John Dryden, Robert Fitzgerald and Robert Fagles, because of its combination of vivid precision, metrical force, and cumulative effect. Writing in the TLS, classicist Richard Jenkyns called Ferry's Aeneid "the best modern version...both for its loyalty to the original and for its naturalness in itself."