他的故事开始于1941年,当他出生second child of four to a specialist in tax law and a homemaker. Hass spent his early years in San Francisco before the family moved in 1945 across the Golden Gate Bridge to San Rafael, a small town in then-rural Marin County. His mother struggled with alcoholism and his father seemed to hate his job, and “neither,” Hass would recall, “seemed to be having their lives.” He grew up hunting and fishing, and would one day raise his own children blackberrying and mushrooming and birding around the Bay Area.
Hass’s first collection,Field Guide，was selected by Stanley Kunitz in 1972 for the Yale Series of Younger Poets, and by the time he published his second,Praise1979年，评论家们形容他是他那一代最优秀的诗人之一。“一个奇异的亮度，写道：”伊丽莎白·哈德威克，“和心灵的新鲜感。”“内脏的乐趣，”卡罗琳·凯泽说。在他早期的模式和谈判人员对丹妮丝·莱弗多芬，罗宾逊杰弗斯，肯尼思力士乐，和斯奈德，最后这些特别开放供哈斯前景上写他是从地方的可能性。他最近收集夏之雪（2020年），标题把自己心爱的内华达山脉的参考。在他的生命历程，海思已经获得多项美国诗歌的重要赞誉，从普利策的华莱士·史蒂文斯的美国国家图书奖，以麦克阿瑟授权一起，他两度出任桂冠诗人顾问库美国国会，一个工作，他非常善于和这使他“凄惨”。
Hass also produced two volumes gathering some of his essays and reviews—Twentieth Century Pleasures（1984）和What Light Can Do（2012）在横过大诗歌，电影，摄影，并培养-ranging。对于前者，他被授予美国国家书评奖。一个小本子上表（2017），其每个人都喜欢要指出的是，没有特别少，是两个盖之间的诗主类。而且还有罗伯特·哈斯译者-的俳句，但丁，歌词弗里达·卡罗和托马斯·特朗斯特罗姆的，尤其是切斯瓦夫·米沃什，其中海思辛劳几十年来把成英文的体积。米沃什说，这是“我一生的非凡事故之一”已经满足了年轻人。
Our conversation began in 2010, but we didn’t finish it until this January. We recorded our first bout at the dining room table in the house in the Berkeley Hills that Hass shares with his wife, the poet Brenda Hillman. For our second session, eight years later, we moved to the living room. Through the corner window the bay was shining like a sheet of tin in sunlight, and beyond that the San Francisco skyline was threaded with fog. Some days later we did another round in his office on the Berkeley campus. At one point a crow landed on the concrete balcony just outside the window, and he offered it a bit of cookie he found in his desk, but it flew away. For our final discussion, we went back to the living room.
通过then, the world seemed in some ways a very different place. But the concerns and themes that emerged in our first conversation had only deepened. In Hass’s poems, and in his talk, there’s a striking mix of the plain and the elaborate, the earthy and the urbane. He dwells in his art not only on human suffering but especially on what remains to be felt and known in suffering’s wake. And context, itself one of Hass’s great subjects, became a touchstone as the interview unfolded, too.
Hass’s smile is sweet and a little bit sad. Sometimes as he answers a question, so much seems to be occurring to him—“My mind went seven places at once,” he writes in his poem “Consciousness”—that he starts to speak in luminous fragments. He’s told me he’s not sure he believes in digression. “There’s nothing to digress upon,” he says.
Seamus had such a gift for naming the issues in making. And he was such a conscious maker, it’s understandable that he would go there. My experience is mostly that the will can make prose and it can’t make poetry. But it takes will, sometimes, to put yourself in the place where poetry might happen.