“Vendler is a commentator almost clairvoyant...Her book ought to be read, with care and gratitude, by every reader of Stevens, for no critic before her has understood so well his major poems.”
—Harold Bloom, New York Times Book Review

A virtuosic reading of Stevens’s most difficult poems brings their austere beauty and elaborately mannered movements to life.

If “poetry is the subject of the poem,” as Wallace Stevens once declared, so too is the poet. A poet’s temperament, his attractions and repulsions, his sense of the world: all are integral to his style. And while Stevens’s short poems are perhaps his most anthologized, it is only in his longer works that we find his unique sensibilities on full display.

Tracing the great modernist’s development through fourteen poems, from “Sunday Morning” (1915) to “An Ordinary Evening in New Haven” (1949), Helen Vendler reveals the longer poems as the proving grounds where Stevens tested formal innovations and discovered his own formidable strengths. Chief among these, she argues, is a gift for equivocation. Neither ascetic nor hedonist, neither solipsist aesthete nor engaged poet of the social, Stevens “trembles always at halfway points.” He departs from his romantic forbears, deprecating the pure imagination by letting flights of poetic fancy degenerate into intentional decadence and triviality. But he finds desperate clutching at “things as they are” equally fruitless: “endless struggle with fact” is the poet’s inevitable lot. From this ambivalence springs a whole world of grammatical and syntactic innovation, from his ambiguous use of tense to the welter of qualifications that seem to thwart every affirmative declaration.

An unsurpassed classic in the canon of Stevens criticism, On Extended Wings gives us the full sweep his of his oeuvre—from the somber to the whimsical, from high stoic elegy to grotesque comedy—as no one but the brilliant Helen Vendler can.

[Vendler's] study of Stevens' longer poems is a difficult, brilliant book that everywhere illuminates not only the specific poems under inspection and Stevens' other work, but our ideas of poetry in general. Her own style, rising to its subject, is capacious and inventive, witty and astringent, intensely dedicated to distinguishing Stevens' finest poems, or moments in poems, from his less fine ones. The result is true criticism, and it comes through most vividly in her discussions of 'Man with the Blue Guitar,' 'Notes Toward a Supreme Fiction,' and 'Auroras of Autumn.' A book to be read and reread, it is absolutely essential for the way it sends us back to the poems it so lovingly and sternly anatomizes. * Choice *
[Vendler] has written a superb and badly needed book giving us readings unlikely to be surpassed of Stevens's longer poems…Mrs. Vendler is a commentator almost clairvoyant…Her book ought to be read, with care and gratitude, by every reader of Stevens, for no critic before her has understood so well his major poems. -- Harold Bloom * New York Times Book Review *
This study of Stevens' long poems centers around problems defined by the poetry itself: its style and form, its evolving shape. In treating these problems intelligently, Mrs. Vendler deepens the exploration of Wallace Stevens into penetration. For this reason, among others, On Extended Wings is valuable and special. -- Richard Giannone * Nation *
A clear and detailed study that should become indispensable to understanding Stevens’ work. -- Martin Robbins * Boston Globe *

Helen Vendler (1933–2024) was a leading poetry critic and the author of nineteen books on poets from William Shakespeare to Seamus Heaney. A winner of the National Book Critics Circle Award for Criticism, she contributed regularly to the New Yorker, the New York Review of Books, the New York Times Book Review, London Review of Books, and the New Republic. She was the Arthur Kingsley Porter University Professor at Harvard University.