Gary Snyder (born May 8, 1930) is an American
man of letters. Perhaps best known as a poet
(often associated with the Beat Generation
and the San Francisco Renaissance), he is
also an essayist, lecturer, and environmental
activist with anarchoprimitivist leanings.
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 Award. His work, in his various roles,
reflects an immersion in both Buddhist spirituality
and nature. Snyder has translated literature
into English from ancient Chinese and modern
Japanese. Snyder was an academic at the University
of California, Davis and a member of the California
Arts Council.
== Life and career ==
=== 
Early life ===
Gary Sherman Snyder was born in San Francisco,
California to Harold and Lois Hennessy Snyder.
Snyder is of German, Scots-Irish, and English
ancestry. His family, impoverished by the
Great Depression, moved to King County, Washington,
when he was two years old. There, they tended
dairy cows, kept laying hens, had a small
orchard, and made cedar-wood shingles,. At
the age of seven, Snyder was laid up for four
months by an accident. "So my folks brought
me piles of books from the Seattle Public
Library," he recalled in interview, "and it
was then I really learned to read and from
that time on was voracious — I figure that
accident changed my life. At the end of four
months, I had read more than most kids do
by the time they're eighteen. And I didn't
stop." Also during his ten childhood years
in Washington, Snyder became aware of the
presence of the Coast Salish people and developed
an interest in the Native American peoples
in general and their traditional relationship
with nature.In 1942, following his parents'
divorce, Snyder moved to Portland, Oregon
with his mother and his younger sister, Anthea.
Their mother, Lois Snyder Hennessy (born Wilkey),
worked during this period as a reporter for
The Oregonian. One of Gary's boyhood jobs
was as a newspaper copy boy, also at the Oregonian.
Also, during his teen years, he attended Lincoln
High School, worked as a camp counselor, and
went mountain climbing with the Mazamas youth
group. Climbing remained an interest of his,
especially during his twenties and thirties.
In 1947, he started attending Reed College
on a scholarship. Here he met, and for a time,
roomed with the education author Carl Proujan;
and became acquainted with Philip Whalen and
Lew Welch. During his time at Reed, Snyder
published his first poems in a student journal.
In 1948, he spent the summer working as a
seaman. To get this job, he joined the now
defunct Marine Cooks and Stewards union, and
would later work as a seaman in the mid-1950s
to gain experience of other cultures in port
cities. Snyder married Alison Gass in 1950;
however, they separated after seven months,
and divorced in 1952.While attending Reed,
Snyder did folklore research on the Warm Springs
Indian Reservation in central Oregon. He graduated
with a dual degree in anthropology and literature
in 1951. Snyder's senior thesis, entitled
The Dimensions of a Myth, employed perspectives
from anthropology, folklore, psychology, and
literature to examine a myth of the Pacific
Northwest's Haida people. He spent the following
few summers working as a timber scaler at
Warm Springs, developing relationships with
its people that were less rooted in academia.
This experience formed the basis for some
of his earliest published poems (including
"A Berry Feast"), later collected in the book
The Back Country. He also encountered the
basic ideas of Buddhism and, through its arts,
some of the Far East's traditional attitudes
toward nature. He went to Indiana University
with a graduate fellowship to study anthropology.
(Snyder also began practicing self-taught
Zen meditation.) He left after a single semester
to return to San Francisco and to 'sink or
swim as a poet'. Snyder worked for two summers
in the North Cascades in Washington as a fire
lookout, on Crater Mountain in 1952 and Sourdough
Mountain in 1953 (both locations on the upper
Skagit River). His attempts to get another
lookout stint in 1954 (at the peak of McCarthyism),
however, failed. He had been barred from working
for the government, due to his association
with the Marine Cooks and Stewards. Instead,
he went back to Warm Springs to work in logging
as a chokersetter (fastening cables to logs).
This experience contributed to his Myths and
Texts and the essay Ancient Forests of the
Far West.
=== The Beats ===
Back in San Francisco, Snyder lived with Whalen,
who shared his growing interest in Zen. Snyder's
reading of the writings of D.T. Suzuki had
in fact been a factor in his decision not
to continue as a graduate-student in anthropology,
and in 1953 he enrolled at the University
of California, Berkeley to study Asian culture
and languages. He studied ink and wash painting
under Chiura Obata and Tang Dynasty poetry
under Ch'en Shih-hsiang. Snyder continued
to spend summers working in the forests, including
one summer as a trail-builder in Yosemite.
He spent some months in 1955 and 1956 living
in a cabin (which he dubbed "Marin-an") outside
Mill Valley, California with Jack Kerouac.
It was also at this time that Snyder was an
occasional student at the American Academy
of Asian Studies, where Saburō Hasegawa and
Alan Watts, among others, were teaching. Hasegawa
introduced Snyder to the treatment of landscape
painting as a meditative practice. This inspired
Snyder to attempt something equivalent in
poetry, and with Hasegawa's encouragement,
he began work on Mountains and Rivers without
End, which would be completed and published
forty years later. During these years, Snyder
was writing and collecting his own work, as
well as embarking on the translation of the
"Cold Mountain" poems by the 8th-century Chinese
recluse Han Shan; this work appeared in chapbook-form
in 1959, under the title Riprap & Cold Mountain
Poems.
Snyder met Allen Ginsberg when the latter
sought Snyder out on the recommendation of
Kenneth Rexroth. Then, through Ginsberg, Snyder
and Kerouac came to know each other. This
period provided the materials for Kerouac's
novel The Dharma Bums, and Snyder was the
inspiration for the novel's main character,
Japhy Ryder, in the same way Neal Cassady
had inspired Dean Moriarty in On the Road.
As the large majority of people in the Beat
movement had urban backgrounds, writers like
Ginsberg and Kerouac found Snyder, with his
backcountry and manual-labor experience and
interest in things rural, a refreshing and
almost exotic individual. Lawrence Ferlinghetti
later referred to Snyder as 'the Thoreau of
the Beat Generation'.
Snyder read his poem "A Berry Feast" at the
poetry reading at the Six Gallery in San Francisco
(October 7, 1955) that heralded what was to
become known as the San Francisco Renaissance.
This also marked Snyder's first involvement
with the Beats, although he was not a member
of the original New York circle, but rather
entered the scene through his association
with Kenneth Rexroth. As recounted in Kerouac's
Dharma Bums, even at age 25 Snyder felt he
could have a role in the fateful future meeting
of West and East. Snyder's first book, Riprap,
which drew on his experiences as a forest
lookout and on the trail-crew in Yosemite,
was published in 1959.
=== Japan and India ===
Independently, some of the Beats, including
Philip Whalen, had become interested in Zen,
but Snyder was one of the more serious scholars
of the subject among them, preparing in every
way he could think of for eventual study in
Japan. In 1955, the First Zen Institute of
America offered him a scholarship for a year
of Zen training in Japan, but the State Department
refused to issue him a passport, informing
him that "it has been alleged you are a Communist."
A subsequent District of Columbia Court of
Appeals ruling forced a change in policy,
and Snyder got his passport. In the end, his
expenses were paid by Ruth Fuller Sasaki,
for whom he was supposed to work; but initially
he served as personal attendant and English
tutor to Zen abbot Miura Isshu, at Rinko-in,
a temple in Shokoku-ji in Kyoto, where Dwight
Goddard and R. H. Blyth had preceded him.
Mornings, after zazen, sutra chanting, and
chores for Miura, he took Japanese classes,
bringing his spoken Japanese up to a level
sufficient for kōan study. He developed a
friendship with Philip Yampolsky, who took
him around Kyoto. In early July 1955, he took
refuge and requested to become Miura's disciple,
thus formally becoming a Buddhist.He returned
to California via the Persian Gulf, Turkey,
Sri Lanka and various Pacific Islands, in
1958, voyaging as a crewman in the engine
room on the oil freighter Sappa Creek, and
took up residence at Marin-an again. He turned
one room into a zendo, with about six regular
participants. In early June, he met the poet
Joanne Kyger. She became his girlfriend, and
eventually his wife. In 1959, he shipped for
Japan again, where he rented a cottage outside
Kyoto. He became the first foreign disciple
of Oda Sesso Roshi, the new abbot of Daitoku-ji.
He married Kyger on February 28, 1960, immediately
after her arrival, which Sasaki insisted they
do, if they were to live together and be associated
with the First Zen Institute of America. Snyder
and Joanne Kyger were married from 1960 to
1965.During the period between 1956 and 1969,
Snyder went back and forth between California
and Japan, studying Zen, working on translations
with Ruth Fuller Sasaki, and finally living
for a while with a group of other people on
the small, volcanic island of Suwanosejima.
His previous study of written Chinese assisted
his immersion in the Zen tradition (with its
roots in Tang Dynasty China) and enabled him
to take on certain professional projects while
he was living in Japan. Snyder received the
Zen precepts and a dharma name (Chofu, "Listen
to the Wind"), and lived sometimes as a de
facto monk, but never registered to become
a priest and planned eventually to return
to the United States to 'turn the wheel of
the dharma'. During this time, he published
a collection of his poems from the early to
mid '50s, Myths & Texts (1960), and Six Sections
from Mountains and Rivers Without End (1965).
This last was the beginning of a project that
he was to continue working on until the late
1990s. Much of Snyder's poetry expresses experiences,
environments, and insights involved with the
work he has done for a living: logger, fire-lookout,
steam-freighter crew, translator, carpenter,
and itinerant poet, among other things. During
his years in Japan, Snyder was also initiated
into Shugendo, a form of ancient Japanese
animism, (see also Yamabushi). In the early
1960s he traveled for six months through India
with his wife Joanne, Allen Ginsberg, and
Peter Orlovsky. Snyder and Joanne Kyger separated
soon after a trip to India, and divorced in
1965.
=== Dharma Bums ===
In the 1950s, Snyder took part in the rise
of a strand of Buddhist anarchism emerging
from the Beat movement. Snyder was the inspiration
for the character Japhy Ryder in Jack Kerouac's
novel The Dharma Bums (1958). Snyder had spent
considerable time in Japan studying Zen Buddhism,
and in 1961 published an essay, "Buddhist
Anarchism", where he described the connection
he saw between these two traditions, originating
in different parts of the world: "The mercy
of the West has been social revolution; the
mercy of the East has been individual insight
into the basic self/void." He advocated "using
such means as civil disobedience, outspoken
criticism, protest, pacifism, voluntary poverty
and even gentle violence" and defended "the
right of individuals to smoke ganja, eat peyote,
be polygymous, polyandrous or homosexual"
which he saw as being banned by "the Judaeo-Capitalist-Christian-Marxist
West".
=== Kitkitdizze ===
In 1966, Snyder joined Allen Ginsberg, Zentatsu
Richard Baker, Roshi of the San Francisco
Zen Center, and Donald Walters, a.k.a. "Swami
Kriyananda," to buy 100 acres (0.40 km2) in
the Sierra foothills, north of Nevada City,
California. In 1970, this would become his
home, with the Snyder family's portion being
named Kitkitdizze. Snyder spent the summers
of 1967 and 1968 with a group of Japanese
back-to-the-land drop-outs known as "the Tribe"
on Suwanosejima (a small Japanese island in
the East China Sea), where they combed the
beaches, gathered edible plants, and fished.
On the island, on August 6, 1967, he married
Masa Uehara, whom he had met in Osaka a year
earlier. In 1968, they moved to California
with their infant son, Kai (born April 1968).
Their second son, Gen, was born a year later.
In 1971, they moved to the San Juan Ridge
in the foothills of the Sierra Nevada of Northern
California, near the South Yuba River, where
they and friends built a house that drew on
rural-Japanese and Native-American architectural
ideas. In 1967 his book The Back Country appeared,
again mainly a collection of poems stretching
back over about fifteen years. Snyder devoted
a section at the end of the book to his translations
of eighteen poems by Kenji Miyazawa.
=== Later life and writings ===
Regarding Wave appeared in January 1970, a
stylistic departure offering poems that were
more emotional, metaphoric, and lyrical. From
the late 1960s, the content of Snyder's poetry
increasingly had to do with family, friends,
and community. He continued to publish poetry
throughout the 1970s, much of it reflecting
his re-immersion in life on the American continent
and his involvement in the back-to-the-land
movement in the Sierra foothills. His 1974
book Turtle Island, titled after a Native
American name for the North American continent,
won a Pulitzer Prize. It also influenced numerous
West Coast Generation X writers, including
Alex Steffen, Bruce Barcott and Mark Morford.
His 1983 book Axe Handles, won an American
Book Award. Snyder wrote numerous essays setting
forth his views on poetry, culture, social
experimentation, and the environment. Many
of these were collected in Earth House Hold
(1969), The Old Ways (1977), The Real Work
(1980), The Practice of the Wild (1990), A
Place in Space (1995), and The Gary Snyder
Reader (1999). In 1979, Snyder published He
Who Hunted Birds in His Father's Village:
The Dimensions of a Haida Myth, based on his
Reed thesis. Snyder's journals from his travel
in India in the mid-1960s appeared in 1983
under the title Passage Through India. In
these, his wide-ranging interests in cultures,
natural history, religions, social critique,
contemporary America, and hands-on aspects
of rural life, as well as his ideas on literature,
were given full-blown articulation.
In 1986, Snyder became a professor in the
writing program at the University of California,
Davis. Snyder is now professor emeritus of
English.Snyder was married to Uehara for twenty-two
years; the couple divorced in 1989. Snyder
married Carole Lynn Koda (October 3, 1947
– June 29, 2006), who would write Homegrown:
Thirteen brothers and sisters, a century in
America, in 1991, and remained married to
her until her death of cancer. She had been
born in the third generation of a successful
Japanese-American farming family, noted for
its excellent rice. She shared Buddhism, extensive
travels, and work with Snyder, and performed
independent work as a naturalist.As Snyder's
involvement in environmental issues and his
teaching grew, he seemed to move away from
poetry for much of the 1980s and early 1990s.
However, in 1996 he published the complete
Mountains and Rivers Without End, a mixture
of the lyrical and epic modes celebrating
the act of inhabitation on a specific place
on the planet. This work was written over
a 40-year period. It has been translated into
Japanese, French and Russian. In 2004 Snyder
published Danger on Peaks, his first collection
of new poems in twenty years.
Snyder was awarded the Levinson Prize from
the journal Poetry, the American Poetry Society
Shelley Memorial Award (1986), was inducted
into the American Academy of Arts and Letters
(1987), and won the 1997 Bollingen Prize for
Poetry and, that same year, the John Hay Award
for Nature Writing. Snyder also has the distinction
of being the first American to receive the
Buddhism Transmission Award (for 1998) from
the Japan-based Bukkyo Dendo Kyokai Foundation.
For his ecological and social activism, Snyder
was named as one of the 100 visionaries selected
in 1995 by Utne Reader.
Snyder's life and work was celebrated in John
J. Healy's 2010 documentary The Practice of
the Wild. The film, which debuted at the 53rd
San Francisco International Film Festival,
features wide-ranging, running conversations
between Snyder and poet, writer and longtime
colleague Jim Harrison, filmed mostly on the
Hearst Ranch in San Simeon, California. The
film also shows archival photographs and film
of Snyder's life.
== Work ==
=== 
Poetics ===
Gary Snyder uses mainly common speech-patterns
as the basis for his lines, though his style
has been noted for its "flexibility" and the
variety of different forms his poems have
taken. He typically uses neither conventional
meters nor intentional rhyme. "Love and respect
for the primitive tribe, honour accorded the
Earth, the escape from city and industry into
both the past and the possible, contemplation,
the communal", such, according to Glyn Maxwell,
is the awareness and commitment behind the
specific poems.
The author and editor Stewart Brand once wrote:
"Gary Snyder's poetry addresses the life-planet
identification with unusual simplicity of
style and complexity of effect." According
to Jody Norton, this simplicity and complexity
derives from Snyder's use of natural imagery
(geographical formations, flora, and fauna)
in his poems. Such imagery can be both sensual
at a personal level yet universal and generic
in nature. In the 1968 poem "Beneath My Hand
and Eye the Distant Hills, Your Body," the
author compares the intimate experience of
a lover's caress with the mountains, hills,
cinder cones, and craters of the Uintah Mountains.
Readers become explorers on both a very private
level as well as a very public and grand level.
A simplistic touch becoming a very complex
interaction occurring at multiple levels.
This is the effect Snyder intended. In an
interview with Faas, he states, "There is
a direction which is very beautiful, and that's
the direction of the organism being less and
less locked into itself, less and less locked
into its own body structure and its relatively
inadequate sense organs, towards a state where
the organism can actually go out from itself
and share itself with others."Snyder has always
maintained that his personal sensibility arose
from his interest in Native Americans and
their involvement with nature and knowledge
of it; indeed, their ways seemed to resonate
with his own. And he has sought something
akin to this through Buddhist practices, Yamabushi
initiation, and other experiences and involvements.
However, since his youth he has been quite
literate, and he has written about his appreciation
of writers of similar sensibilities, like
D. H. Lawrence, William Butler Yeats, and
some of the great ancient Chinese poets. William
Carlos Williams was another influence, especially
on Snyder's earliest published work. Starting
in high school, Snyder read and loved the
work of Robinson Jeffers, his predecessor
in poetry of the landscape of the American
West; but, whereas Jeffers valued nature over
humankind, Snyder saw humankind as part of
nature. Snyder commented in interviews, "I
have some concerns that I'm continually investigating
that tie together biology, mysticism, prehistory,
general systems theory". Snyder argues that
poets, and humans in general, need to adjust
to very long timescales, especially when judging
the consequences of their actions. His poetry
examines the gap between nature and culture
so as to point to ways in which the two can
be more closely integrated.
In 2004, receiving the Masaoka Shiki International
Haiku Awards Grand Prize, Snyder highlighted
traditional ballads and folk songs, Native
American songs and poems, William Blake, Walt
Whitman, Jeffers, Ezra Pound, Noh drama, Zen
aphorisms, Federico García Lorca, and Robert
Duncan as significant influences on his poetry,
but added, "the influence from haiku and from
the Chinese is, I think, the deepest."
=== 
Romanticism ===
Snyder is among those writers who have sought
to dis-entrench conventional thinking about
primitive peoples that has viewed them as
simple-minded, ignorantly superstitious, brutish,
and prone to violent emotionalism. In the
1960s Snyder developed a "neo-tribalist" view
akin to the "post-modernist" theory of French
Sociologist Michel Maffesoli. The "re-tribalization"
of the modern, mass-society world envisioned
by Marshall McLuhan, with all of the ominous,
dystopian possibilities that McLuhan warned
of, subsequently accepted by many modern intellectuals,
is not the future that Snyder expects or works
toward. Snyder's is a positive interpretation
of the tribe and of the possible future.
Todd Ensign describes Snyder's interpretation
as blending ancient tribal beliefs and traditions,
philosophy, physicality, and nature with politics
to create his own form of Postmodern environmentalism.
Snyder rejects the perspective which portrays
nature and humanity in direct opposition to
one another. Instead, he chooses to write
from multiple viewpoints. He purposely sets
out to bring about change on the emotional,
physical, and political levels by emphasizing
the ecological problems faced by today's society.
=== Beat ===
Gary Snyder is widely regarded as a member
of the Beat Generation circle of writers:
he was one of the poets that read at the famous
Six Gallery event, and was written about in
one of Kerouac's most popular novels, The
Dharma Bums. Some critics argue that Snyder's
connection with the Beats is exaggerated and
that he might better be regarded as a part
of the San Francisco Renaissance, which developed
independently. Snyder himself has some reservations
about the label "Beat", but does not appear
to have any strong objection to being included
in the group. He often talks about the Beats
in the first person plural, referring to the
group as "we" and "us".
A quotation from a 1974 interview at the University
of North Dakota Writers Conference (published
in The Beat Vision):
I never did know exactly what was meant by
the term 'The Beats', but let's say that the
original meeting, association, comradeship
of Allen [Ginsberg], myself, Michael [McClure],
Lawrence [Ferlinghetti], Philip Whalen, who's
not here, Lew Welch, who's dead, Gregory [Corso],
for me, to a somewhat lesser extent (I never
knew Gregory as well as the others) did embody
a criticism and a vision which we shared in
various ways, and then went our own ways for
many years. Where we began to come really
close together again, in the late '60s, and
gradually working toward this point, it seems
to me, was when Allen began to take a deep
interest in Oriental thought and then in Buddhism
which added another dimension to our levels
of agreement; and later through Allen's influence,
Lawrence began to draw toward that; and from
another angle, Michael and I after the lapse
of some years of contact, found our heads
very much in the same place, and it's very
curious and interesting now; and Lawrence
went off in a very political direction for
a while, which none of us had any objection
with, except that wasn't my main focus. It's
very interesting that we find ourselves so
much on the same ground again, after having
explored divergent paths; and find ourselves
united on this position of powerful environmental
concern, critique of the future of the individual
state, and an essentially shared poetics,
and only half-stated but in the background
very powerfully there, a basic agreement on
some Buddhist type psychological views of
human nature and human possibilities.
Snyder has also commented "The term Beat is
better used for a smaller group of writers
... the immediate group around Allen Ginsberg
and Jack Kerouac, plus Gregory Corso and a
few others. Many of us ... belong together
in the category of the San Francisco Renaissance.
... Still, beat can also be defined as a particular
state of mind ... and I was in that mind for
a while".
== Bibliography ==
Riprap and Cold Mountain Poems (1959)
Myths & Texts (1960)
Six Sections from Mountains and Rivers Without
End (1965)
The Back Country (1967)
Regarding Wave (1969)
Earth House Hold (1969)
Turtle Island (1974)
The Old Ways (1977)
He Who Hunted Birds in His Father's Village:
The Dimensions of a Haida Myth (1979)
The Real Work: Interviews & Talks 1964-1979
(1980)
Axe Handles (1983)
Passage Through India (1983)
Left Out in the Rain (1988)
The Practice of the Wild (1990)
No Nature: New and Selected Poems (1992)
A Place in Space (1995)
narrator of the audio book version of Kazuaki
Tanahashi's Moon in a Dewdrop from Dōgen's
Shōbōgenzō
Mountains and Rivers Without End (1996)
The Geography Of Home (Poetry book)(1999)
The Gary Snyder Reader: Prose, Poetry, and
Translations (1999)
The High Sierra of California, with Tom Killion
(2002)
Look Out: a Selection of Writings (November
2002)
Danger on Peaks (2005)
Back on the Fire: Essays (2007)
The Selected Letters of Allen Ginsberg and
Gary Snyder, 1956-1991, (2009).
Tamalpais Walking, with Tom Killion (2009)
The Etiquette of Freedom, with Jim Harrison
(2010) film by Will Hearst with book edited
by Paul Ebenkamp
Nobody Home: Writing, Buddhism, and Living
in Places, with Julia Martin, Trinity University
Press (2014).
This Present Moment (April 2015)
Distant Neighbors: The Selected Letters of
Wendell Berry and Gary Snyder (May 2015)
The Great Clod: Notes and Memories on the
Natural History of China and Japan (March
2016)
== Notes ==
== Sources ==
Charters, Ann (ed.). The Portable Beat Reader.
Penguin Books. New York. 1992. ISBN 0-670-83885-3
(hc); ISBN 0-14-015102-8 (pbk)
Hunt, Anthony. "Genesis, Structure, and Meaning
in Gary Snyder's Mountains and Rivers Without
End" Univ. of Nevada Press. 2004. ISBN 0-87417-545-3
Knight, Arthur Winfield. Ed. The Beat Vision
(1987) Paragon House. ISBN 0-913729-40-X;
ISBN 0-913729-41-8 (pbk)
Kyger, Joanne. Strange Big Moon: The Japan
and India Journals: 1960–1964 (2000) North
Atlantic Books. ISBN 978-1-55643-337-5
Smith, Eric Todd. Reading Gary Snyder's Mountains
and Rivers Without End (1999) Boise State
University. ISBN 978-0-88430-141-7
Snyder, Gary. The Politics of Ethnopoetics
(1975) Snyder essay A Place in Space
Snyder, Gary. 1980. The Real Work: Interviews
& Talks 1964–1979. New Directions, New York.
ISBN 0-8112-0761-7 (hbk); ISBN 0-8112-0760-9
(pbk)
Stirling, Isabel. Zen Pioneer: The Life & Works
of Ruth Fuller Sasaki (2006) Shoemaker & Hoard.
ISBN 978-1-59376-110-3
Suiter, John. Poets on the Peaks (2002) Counterpoint.
ISBN 1-58243-148-5; ISBN 1-58243-294-5 (pbk)
Western Literature Association. Updating the
Literary West (1997) Texas Christian University
Press. ISBN 978-0-87565-175-0
== Further reading ==
Sherlock, John. (2010). Gary Snyder: a bibliography
of works by and about Gary Snyder. UC Davis
Library.
== External links ==
Works by or about Gary Snyder in libraries
(WorldCat catalog)
Eliot Weinberger (Winter 1996). "Gary Snyder,
The Art of Poetry No. 74". The Paris Review.
Profile at Poetry Foundation
Profile at Poets.org
Snyder talk "Mountains and Rivers without
End" at the Smithsonian Museums of Asian art
(Audio 1 hr) at 12 July 2008. Talk programme
Shambhala Sun Magazine article "The Wild Mind
Of Gary Snyder" by Trevor Carolan and "Writers
and the War Against Nature" by Gary Snyder
in Shambhala Sun Magazine
2007 Public Access TV interview (Nevada County
TeleVision), 61 minutes
"Gary Snyder" by Bert Almon from the Western
Writers Series Digital Editions at Boise State
University
New York Times profile "A Poem, 40 Years Long"
6 October 1996
Gary Snyder on Art, Anarchy and the Environment
(2010 San Francisco Film Society interview)
Gary Snyder Papers at Special Collections
Dept., University Library, University of California,
Davis
Gary Snyder. Letters to Shandel Parks MSS
719. Special Collections & Archives, UC San
Diego Library.
Records of Gary Snyder are held by Simon Fraser
University's Special Collections and Rare
Books
Western American Literature Journal: Gary
Snyder
