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Allen Tate

John Orley Allen Tate (November 19, 1899 – February 9, 1979) was an American poet, essayist, novelist, and literary critic, best known for blending modernist techniques with Southern historical consciousness in works that grappled with themes of tradition, loss, and cultural decay.^[1] Born in Winchester, Kentucky, and educated at Vanderbilt University, Tate emerged as a central figure in the Fugitive poets' circle, which rejected sentimental regionalism in favor of rigorous intellectual engagement with Southern identity.^[2] His seminal poem "Ode to the Confederate Dead" (1928) exemplifies this approach, meditating on the futility of heroic ideals amid modern fragmentation while evoking Confederate cemeteries as symbols of defeated vitality.^[3] Tate co-edited the Fugitive magazine and contributed essays to the Southern Agrarians' 1930 manifesto I'll Take My Stand, defending agrarianism against industrial homogenization as a means to preserve moral and communal order rooted in place and custom.^[4] As a critic, he championed New Criticism's focus on textual tension and irony, influencing a generation through essays like "Tension in Poetry" and his role in shaping close-reading practices that prioritized the work's internal dynamics over biographical or historical externalities.^[5] His novel The Fathers (1938) dramatized sectional conflicts of the Civil War era, underscoring tensions between tradition and progress.^[2] Among his distinctions, Tate served as Consultant in Poetry to the Library of Congress from 1943 to 1944, received the Bollingen Prize in 1956 for poetry, and was awarded a National Medal for Literature, affirming his stature in American letters despite his contrarian stance against prevailing progressive orthodoxies.^[2] Biographies of Confederate figures like Stonewall Jackson and Jefferson Davis further highlighted his commitment to reevaluating Southern history through a lens of tragic realism rather than apology or condemnation.^[6]

Early Life and Education

Childhood and Formative Influences

John Orley Allen Tate was born on November 19, 1899, in Winchester, Clarke County, Kentucky, to John Orley Tate, a businessman involved in lumber and other ventures, and Eleanor Parke Custis Varnell.^[1]^[7] His mother's lineage connected to pre-Civil War Virginia Tidewater families that had prospered through slaveholding plantations, including a grandfather's estate destroyed by Union forces in 1861, which cultivated in the household a reverence for Confederate heritage and the aristocratic traditions of the Old South.^[8]^[9] Tate's early years were marked by frequent relocations across Kentucky and nearby regions, driven by his father's repeated business setbacks and financial instability, which disrupted formal schooling and engendered a lasting sense of rootlessness contrasted against an idealized Southern past.^[2]^[7] This nomadic existence, spanning multiple towns and temporary residences, heightened his attachment to familial narratives of the Lost Cause—stories of antebellum glory, defeat, and cultural displacement that his mother emphasized despite the family's more recent Scotch-Irish immigrant roots in Illinois.^[7]^[9] Amid these upheavals, Tate's intellectual formation began through self-directed reading, spurred by his mother's affinity for literature and history; he immersed himself in works evoking classical antiquity, Southern lore, and religious texts, fostering a traditionalist sensibility resistant to the homogenizing forces of industrialization and modernity encroaching on agrarian life.^[2]^[7] These formative exposures, unguided by structured education until later, embedded in him a causal understanding of heritage as a bulwark against temporal fragmentation, themes that would recur in his mature reflections.^[2]

Vanderbilt University and the Fugitive Group

Tate entered Vanderbilt University in Nashville, Tennessee, in 1918, where he majored in English and studied under professors including John Crowe Ransom.^[2] His undergraduate studies were interrupted by a medical leave of absence due to health problems, including an onset of tuberculosis, but he returned to complete his degree, graduating magna cum laude in 1922.^[10] ^[11] During his time at Vanderbilt, Tate became associated with the Fugitives, an informal group of poets and critics centered at the university that met regularly to discuss literature and philosophy.^[12] Key members included faculty such as Ransom and Donald Davidson, as well as students like Tate and Robert Penn Warren; the group emphasized rigorous formal technique in poetry while critiquing the rootless tendencies of Northern modernism and advocating for a rooted Southern cultural identity tied to historical traditions.^[1] ^[12] In 1922, the Fugitives launched their eponymous poetry magazine, The Fugitive, to which Tate contributed poems and early critical pieces that foreshadowed his lifelong opposition to scientistic reductionism in favor of moral and historical continuity.^[13] These discussions and publications laid foundational ideas for Tate's later intellectual defense of regional particularity against industrial homogenization, though the group disbanded by 1925 amid diverging paths among members.^[12]

Literary and Intellectual Career

1920s: Emergence as Poet and Critic

Tate contributed poems to The Fugitive, a literary magazine published at Vanderbilt University from 1922 to 1925, where he served as a founding editor alongside figures such as John Crowe Ransom and Donald Davidson.^[1] His early contributions included works exploring personal and regional tensions, marking his initial emergence as a poet amid the group's emphasis on verse detached from modernist experimentation.^[14] In 1928, Tate published his first poetry collection, Mr. Pope and Other Poems, which featured "Ode to the Confederate Dead," a meditation on the decay of heroic tradition and the individual's estrangement in a fragmented modernity.^[2] The poem, drawing on imagery of Southern graveyards, contrasts the vitality of past Confederate sacrifice with contemporary spiritual desolation, establishing Tate's preoccupation with historical consciousness amid twentieth-century disconnection.^[14] Relocating to New York City in 1924, Tate supported himself through freelance writing for publications like The Nation and Hound & Horn, forging connections with literary figures including Edmund Wilson and Malcolm Cowley while critiquing the city's impersonal dynamism as emblematic of cultural uprootedness.^[15] A Guggenheim Fellowship in 1928 enabled travel to England and France, where he engaged with expatriate circles in Paris, though these years were shadowed by emerging battles with alcoholism that strained his productivity and relationships.^[14]^[16] During this period, Tate began formulating critical essays that championed rigorous textual analysis over subjective effusion, as seen in his early assessments of Romantic poets like John Keats, whom he faulted for unresolved tensions between sensory indulgence and intellectual restraint.^[17] Similarly, his writings on Edgar Allan Poe emphasized disciplined form to counter gothic excess, laying groundwork for a criticism prioritizing irony and structure against unbridled emotion.^[18] These pieces, collected later but originating in late-1920s periodicals, reflected Tate's push for poetry as an objective craft amid the era's subjective trends.^[17]

1930s: Agrarian Manifesto and Critical Essays

In 1930, Allen Tate contributed the essay "Remarks on the Southern Religion" to I'll Take My Stand: The South and the Agrarian Tradition, a manifesto co-authored by twelve Southern writers that advocated agrarianism as a safeguard against the alienating forces of industrial capitalism, which they observed eroding communal ties and individual rootedness in the South.^[2]^[19] Tate argued that the region's traditional economy and social hierarchy preserved a metaphysical order grounded in land and faith, countering both unchecked market individualism and emerging collectivist ideologies that abstracted human relations from concrete localities.^[20] The volume drew on historical evidence of Southern resilience post-Civil War, contrasting it with Northern industrialization's documented social disruptions, such as urban migration and family dissolution rates exceeding rural Southern patterns by the 1920s.^[21] Tate's essay emphasized religion's role in sustaining agrarian virtue, critiquing the South's failure to fully integrate Protestant theology with feudal-like social structures, which left it vulnerable to modern secularism.^[20] This positioned agrarianism not as nostalgia but as a causal framework for human flourishing, where economic decentralization prevented the mass conformity seen in European industrial experiments of the era.^[21] In his 1935 essay "The Profession of Letters in the South," published in the Virginia Quarterly Review, Tate analyzed Southern literary output as emerging from sectional distinctiveness, which he viewed as a resource for critiquing national homogenization under progressive ideals.^[22] He traced the South's underrepresentation in belles lettres to its historical emphasis on action over abstraction, yet praised this as enabling authentic expression resistant to the era's ideological uniformity, evidenced by the scarcity of Southern authors in mainstream periodicals before the 1920s Fugitive renaissance.^[22] Tate urged writers to leverage regional traditions—rooted in agrarian hierarchies—to counter the deracinating effects of urban intellectualism, drawing parallels to European provincial revivals that preserved cultural pluralism against centralized states.^[23] Tate's biographical studies of Confederate figures underscored these themes, portraying them as archetypes of ordered tradition amid democratic chaos. In Stonewall Jackson: The Good Soldier (1928), he depicted the general as a paragon of disciplined obedience and martial piety, embodying a pre-modern ethos of duty over egalitarian levelling, with Jackson's VMI tenure and wartime tactics cited as empirical models of cohesive command structures.^[24] Similarly, Jefferson Davis: His Rise and Fall (1929) framed the Confederate president as a constitutional literalist whose adherence to hierarchical federalism exposed the flaws of abstract unionism, noting Davis's prewar Senate record and administrative decisions as failed but principled assertions of concrete sovereignty against majority rule's encroachments.^[25]^[26] These works, informed by primary archival sources, critiqued modernity's preference for fluid individualism, aligning with Tate's 1930s insistence on tradition as a bulwark for social stability.^[27]

1940s-1950s: Poetry Laureate, Teaching, and Conversion

In 1943, Allen Tate was appointed Consultant in Poetry to the Library of Congress, a position that served as the precursor to the modern Poet Laureate role and involved promoting American letters through readings and fellowships amid World War II.^[28]^[29] During this tenure, which lasted until 1944, Tate established the Associate Fellows in American Letters program to foster critical engagement with poetry.^[30] His reflections on the war's existential disruptions appeared in the poem sequence Seasons of the Soul, published in 1944, which explores themes of spiritual descent and temporal fragmentation through seasonal metaphors, valuing it above even his earlier "Ode to the Confederate Dead."^[31] Following his Library of Congress role, Tate edited The Sewanee Review from 1944 to 1945, shaping Southern literary criticism toward formal analysis.^[32] He held teaching positions that emphasized textual close reading over broader ideological interpretations, including at Princeton University (extending from prior residency into the mid-1940s), New York University, and, from 1951 onward, the University of Minnesota, where he remained until retirement in 1968 and influenced students in New Criticism principles of irony and tension.^[33]^[34] These academic engagements provided institutional stability, allowing Tate to deepen his critiques of modernity's displacement of tradition without the precarity of his earlier years.^[14] Tate's conversion to Roman Catholicism in 1950 marked a pivotal personal transformation, which he later described as addressing the spiritual deficiencies of secular rationalism and Protestant individualism, themes echoed in his extensions of earlier essays like "Religion and the Old South."^[34]^[35] This shift, occurring after years of grappling with Southern agrarian decay and modern alienation, aligned his philosophical commitments with sacramental realism, viewing Catholicism as a bulwark against the era's ideological voids rather than a mere cultural affiliation.^[36]^[37] His post-conversion writings, including those in Essays of Four Decades (1968), reiterated that true community required recovering pre-modern religious foundations, distinct from the South's inadequate Protestantism.

1960s-1970s: Later Reflections and Legacy Building

In the early 1960s, Tate issued Poems (1960), incorporating new compositions such as two pieces in terza rima, which extended his formal explorations while maintaining thematic emphases on historical memory and moral tension. This volume served as a capstone to his poetic output amid declining health, reflecting a distillation of motifs from earlier works like the tension between individual agency and cultural inheritance. Later in the decade, Essays of Four Decades (1969) assembled critical pieces spanning his career, wherein Tate reiterated defenses of tradition against what he termed the "ahistorical" impulses of modern liberalism, prioritizing causal chains rooted in concrete historical particulars over ideological abstractions.^[38] These essays critiqued the era's cultural upheavals—including the civil rights movement's federally imposed reforms—as accelerating the erosion of organic social bonds in favor of homogenized progress, a view aligned with his longstanding Agrarian skepticism of centralized interventions that disregarded sectional realities.^[39] Tate's Memoirs and Opinions, 1926–1974 (1972) offered introspective accounts of his intellectual formation and associations with figures like the Fugitives and Southern Agrarians, underscoring his belief in the necessity of regional continuity for preserving civilizational truths amid national fragmentation.^[40] Through these reflections, he positioned his life's work as a bulwark against the 1960s' relativistic ethos, advocating for a realism grounded in verifiable historical causation rather than utopian egalitarianism. His mentorship during this period, particularly at the University of Minnesota until retirement, influenced students and younger conservatives by modeling rigorous textual analysis and cultural critique, though he increasingly withdrew from public engagements due to frailty. Tate's culminating poetic collection, Collected Poems, 1919–1976 (1977), reaffirmed his dedication to verse as a medium for confronting modernity's dislocations, with selections emphasizing Southern intellectual lineage and the redemptive potential of tradition.^[41] Plagued by emphysema and near-blindness in his final years, he died on February 9, 1979, at Vanderbilt University Hospital in Nashville, Tennessee, at age 79, leaving a body of retrospective work that reinforced his commitment to an ordered, historically informed worldview against the decade's disorders.^[34]^[42]

Key Intellectual Contributions

Southern Agrarianism and Defense of Tradition

Tate contributed the essay "Remarks on the Southern Religion" to the 1930 manifesto I'll Take My Stand: The South and the Agrarian Tradition, a collection by twelve Southern intellectuals advocating agrarianism as an antidote to industrialism's erosion of communal life.^[19] In this work, the Agrarians presented the pre-industrial South's localized farming economy and hierarchical order as empirically fostering moral cohesion and human-scale communities, evidenced by historical patterns of familial stability and cultural continuity that contrasted with the North's factory-driven uprooting of workers into anonymous urban masses.^[21] Tate argued that industrial abstraction severed causal ties to land and tradition, generating alienation observable in rising anomie and susceptibility to ideological extremes, as the South's defeat in 1865 exposed but did not originate these forces.^[43] Central to Tate's defense was the Southern religious tradition's role in anchoring society against modernity's rationalist myths, which he critiqued for promising progress while delivering verifiable fragmentation, as seen in the modern mind's half-awareness of time and eternity that undermined enduring norms.^[44] He contended that tradition, infused with a non-utilitarian faith, provided causal stability through inherited practices—such as agrarian rituals binding generations—lacking in rootless industrial systems, where empirical data from urban decay and labor unrest substantiated the loss of organic hierarchies.^[45] This rejected progressivist teleology, positing instead that verifiable social health derived from concrete allegiances to place and precedent, not abstract efficiencies.^[37] Tate positioned the South as a de facto laboratory for non-utopian conservatism, its historical resilience under feudal-like structures demonstrating hierarchical localization's superiority for preserving belief and order without relying on ideological blueprints.^[46] While sharing affinities with Distributist emphases on widespread property ownership to counter monopoly, Tate grounded his case in the South's Protestant heritage, adapting it to affirm regional tradition over imported doctrines.^[47] This framework underscored agrarianism's empirical warrant: societies rooted in soil and creed exhibited greater resistance to totalizing abstractions than those abstracted into machine-like progress.^[48]

Role in New Criticism

Allen Tate contributed significantly to New Criticism by advocating a rigorous, text-centered methodology that treated the poem as an autonomous artifact, analyzable through its internal dynamics of irony, paradox, and tension, rather than through biographical, historical, or socio-political lenses. This approach, which prioritized the verifiable structure and logic of the literary work itself, emerged from Tate's essays in the 1930s and 1940s, aligning with contemporaries like John Crowe Ransom and Cleanth Brooks in shifting criticism away from impressionistic or extrinsic interpretations toward precise formal analysis.^[49] In his seminal 1938 essay "Tension in Poetry," Tate defined tension as "the full organized body of all the extension and intention" within a poem, where extension refers to its referential or denotative elements and intention to its connotative or suggestive ones; he argued that true poetic efficacy arises from their inseparable reconciliation, often via irony, rather than didactic statement or subjective projection.^[50] Tate critiqued poems lacking this quality—such as those relying on mere communication or sentiment—using examples from metaphysical poets like John Donne to demonstrate how tension unifies disparate meanings into a coherent, self-contained whole, thereby establishing criteria for evaluating poetry on its intrinsic formal properties.^[50] Tate's involvement with the Kenyon Review, founded by Ransom in 1939, further advanced New Criticism's tenets through collaborative essays and debates that emphasized the causal primacy of the text's internal relations over historicist reductions.^[51] He credited the journal with mythologizing the movement, noting that without it, New Criticism might not have coalesced as a distinct critical paradigm in the 1940s. While drawing on T.S. Eliot's techniques of impersonality and tradition, Tate adapted them to underscore the necessity of canonical forms, critiquing modernist fragmentation where it undermined the poem's unified structure and logical integrity.^[51]

Religious and Philosophical Underpinnings

Allen Tate converted to Roman Catholicism on October 14, 1950, viewing the act as a necessary response to the spiritual voids of modernity rather than a mere personal pivot.^[37] This shift intensified his longstanding skepticism toward purely rationalist frameworks, which he saw as incapable of accounting for human contingency and finitude. In essays following his conversion, Tate argued that faith provides an analogical bridge between temporal experience and eternal truths, countering the abstractions of secular thought that dissolve concrete reality into ideology.^[52] Central to Tate's post-conversion philosophy was the concept of the "symbolic imagination," elaborated in his 1952 essay of that title, where he posited it as a faculty enabling the integration of natural and supernatural orders through analogy, as exemplified in Dante's mirrors.^[53] Unlike the "angelic imagination" of rationalism, which abstracts from bodily limits and historical particularity, the symbolic mode grasps reality's layered contingencies—time to eternity, flesh to spirit—without reducing them to deterministic certainty.^[37] Tate contrasted this with positivistic rationalism's dominance since the Enlightenment, which he believed eroded the West's capacity for such integration, fostering a disembodied intellect that fails to engage empirical human limits.^[18] Tate drew philosophical sustenance from T. E. Hulme's neoclassical critique of romantic humanism and Jacques Maritain's Thomistic renewal, both of whom reinforced his view that religion restores an empirical attunement to contingency over ideological absolutes. Hulme's notion of "spilt religion"—residual sacred intuitions in secular forms—influenced Tate's early rejection of unbelieving neoclassicism, pushing him toward orthodox belief as the ground for cultural coherence.^[54] Maritain, whose letters with Tate reveal mutual Thomist affinities, served as godfather at Tate's conversion and shaped his emphasis on supra-temporal destiny amid temporal flux, arguing that faith alone sustains realism about human incompleteness against rationalist overreach.^[35]^[55] Tate critiqued secular humanism as inevitably devolving into nihilism by substituting means (material progress) for ends (divine order), a process that severs society from transcendent anchors and invites barbarism.^[36] He warned that a once-religious society risks spiritual death upon secularization, as humanism's elevation of unaided reason erodes the metaphysical bases for meaning, leaving only power's will.^[35] Southern Protestantism, while offering a regional resistance through its emphasis on tradition and fallenness, struck Tate as incomplete—a "non-agrarian and trading religion" insufficiently rooted in sacramental ontology to fully counter modern dissolution, prompting his Catholic turn for a more robust metaphysical bulwark.^[56]^[37]

Personal Life and Relationships

Marriages and Family Dynamics

Allen Tate married the writer Caroline Gordon on May 28, 1925, in New York City, following their meeting in Kentucky the previous summer.^[57] The couple shared roots in the American South—Gordon from Todd County, Kentucky, and Tate from nearby areas in Kentucky and Tennessee—which fostered a common cultural perspective amid their early struggles in literary New York.^[58] Their only child together, daughter Nancy Meriwether Tate, was born in September 1925; she later married Percy H. Woods Jr. and outlived her father.^[34] The marriage endured repeated strains from mutual infidelities, with Tate maintaining extramarital relationships over decades, prompting Gordon's persistent suspicions and efforts to enforce fidelity through religious means.^[59] Gordon converted to Roman Catholicism in 1947 partly in hopes of salvaging the union, an act that influenced Tate's own conversion three years later in 1950.^[60] They divorced in 1945 amid these tensions, remarried in early 1946, separated around 1955, and finalized the second divorce in 1959 on grounds of desertion.^[61] Tate wed poet Isabella Gardner on June 2, 1959, four days after his divorce from Gordon was granted, in Wellfleet, Massachusetts.^[4] This union, lasting until their divorce prior to 1966, was characterized by Gardner's emotional vulnerabilities, exacerbated by the relationship's demands and Tate's temperament, leading to her later withdrawal into relative isolation.^[62] No children resulted from this marriage, aligning with Tate's pattern of limited progeny overall—only Nancy from his first union and twin sons, John and Benjamin, from his 1966 marriage to Helen Heinz—reflecting a life oriented more toward intellectual vocations than expansive domesticity.^[4]

Friendships in Literary Circles

Allen Tate maintained lifelong friendships with fellow Southern writers John Crowe Ransom, Robert Penn Warren, and Donald Davidson, forged during their time at Vanderbilt University and sustained through shared intellectual pursuits that emphasized regional traditions against the homogenizing forces of national academic and cultural establishments.^[2] These bonds provided Tate with a network for exchanging ideas rooted in empirical observations of Southern agrarian life, offering counterpoints to the abstract universalism prevalent in Northern-dominated literary discourse of the era.^[12] Ransom, in particular, influenced Tate's early poetic development, while reciprocal discussions with Warren and Davidson reinforced a commitment to localized, historical realism over progressive ideologies that Tate viewed as detached from concrete social realities.^[2] Tate's relationship with critic Edmund Wilson was marked by ideological tension, reflecting broader clashes between Tate's defense of tradition and Wilson's advocacy for cosmopolitan liberalism and faith in historical progress. In a 1931 letter, Wilson rebuked Tate for rejecting progressive optimism, which Wilson saw as foundational to his own worldview, highlighting their divergent stances on modernity's trajectory.^[63] This friction intensified after Tate's 1950 conversion to Catholicism; Wilson responded with a pointed critique, expressing hope that the faith would bring Tate personal peace but underscoring their irreconcilable views on religion's role in intellectual life.^[64] Despite occasional correspondence, these exchanges exposed Wilson's bias toward secular enlightenment narratives, which Tate countered with arguments prioritizing metaphysical and cultural continuity over unmoored rationalism.^[65] Tate also served as a mentor to younger critics like Cleanth Brooks, nurturing alliances that bolstered resistance to dominant interpretive trends favoring socio-political contextualization in favor of textual rigor. Their friendship, documented in extensive correspondence from 1933 to 1976, began in Parisian literary circles and evolved into Brooks viewing Tate as a guiding influence on formalist approaches to literature.^[66] Through this relationship, Tate helped cultivate a cadre of thinkers skeptical of progressive impositions on criticism, emphasizing intrinsic textual evidence as a bulwark against ideologically driven readings that often aligned with academic left-leaning orthodoxies.^[67]

Critiques of Industrial Modernity

Tate contended that industrial modernity eroded the human scale of existence by fostering abstraction and detachment from concrete communal bonds, a process he viewed as causally linked to technological centralization that supplanted localized, tradition-bound living with homogenized, mechanistic routines.^[2] In essays aligned with the Southern Agrarian critique, he argued that the factory system's displacement of artisanal and agrarian economies fragmented social structures, prioritizing efficiency over the organic interdependencies that sustain individual agency and moral order.^[68] This erosion, Tate observed, manifests in a loss of historical rootedness, where modern individuals confront existence through rationalized abstractions rather than embodied traditions.^[20] In his seminal poem "Ode to the Confederate Dead" (1928), Tate illustrated this fragmentation through the observer's futile meditation amid autumnal decay, contrasting the visceral heroism of fallen soldiers—emblematic of pre-industrial coherence—with the speaker's impotent gaze, trapped in a present of swirling leaves and "rigid motion," symbolizing the paralyzing abstraction induced by industrial rationalism.^[2] The poem's imagery evokes a causal chain wherein technological progress severs the vital link between past action and present meaning, rendering communities spectral remnants rather than living entities.^[69] Drawing from empirical dislocations during the Great Depression (1929–1939), Tate rejected centralized economic remedies akin to Keynesian deficit spending, which he saw as exacerbating industrial dependency by funneling resources through distant bureaucracies rather than bolstering self-reliant local economies.^[2] Agrarian writings from the era, including Tate's, highlighted observed rural depopulation and urban unemployment—such as Tennessee's farm foreclosures and factory layoffs—as direct outcomes of overreliance on mechanized production, advocating instead decentralized proprietorship to restore human-scale production and mitigate boom-bust cycles.^[70] Tate's analysis presaged the cultural homogenization of post-1945 consumer society, where mass production and suburban sprawl further diluted regional particularities, imposing uniform commodities that undermined the diverse, place-based identities essential to communal vitality.^[43] He warned that such progress, while materially abundant, causally engendered spiritual vacancy by commodifying human relations, a foresight validated by the mid-century rise of chain retail and broadcast media that eroded vernacular customs nationwide.^[56]

Positions on Race, Sectionalism, and the South

Allen Tate defended sectionalism as a recognition of concrete regional differences essential to preserving cultural diversity, arguing against the homogenizing tendencies of Northern universalism. In response to critics accusing him of unsound sectionalism, Tate countered that such differences were factual realities, akin to "blue eyes and black hair," rather than ideological flaws to be eradicated.^[71] He viewed the South's distinct traditions, including its hierarchical social structures, as organic developments rooted in historical causality, preferable to abstract egalitarian impositions that ignored local contexts and human particularities.^[44] Tate acknowledged Southern shortcomings, such as lynching and virulent racism, but maintained that these were aberrations within a paternalistic order that fostered mutual obligations between races, contrasting it with Northern hypocrisy exemplified by events like the 1919 Chicago race riot, where whites attacked blacks amid de facto segregation and urban strife. In his 1930 essay "Hypocrisy in Chicago," contributed to the Agrarian collection I'll Take My Stand, he critiqued Northern claims to moral superiority, noting how industrial cities concealed their racial tensions behind progressive rhetoric while the South confronted its issues through established customs rather than denial.^[54] He advocated for "organic hierarchies" in Southern society, where racial distinctions were embedded in tradition and local governance, over federally mandated integration, which he saw as disruptive to these evolved relations without addressing underlying causal factors like economic displacement or cultural alienation.^[37] Tate's positions drew sharp progressive rebukes for insufficient opposition to racism, with critics labeling his defense of regional autonomy as veiled support for segregation and white supremacy, particularly after statements like his 1932 affirmation in the American Review of belonging to "the regional white man's party" willing to defend it globally.^[72] He critiqued organizations like the NAACP for promoting abstracted legal remedies that overlooked historical embeddedness of race relations, favoring instead pragmatic, community-based adjustments over fiat equality that could exacerbate divisions.^[56] These views positioned sectionalism not as mere nostalgia but as a bulwark against the erasure of diverse human orders by centralized progressivism.^[71]

Skepticism Toward Democracy and Progressivism

Allen Tate expressed profound reservations about unchecked democracy, viewing it as prone to "usurpations... perpetrated in the name of democracy" that undermine cultural and intellectual integrity.^[52] In his 1952 essay "The Man of Letters in the Modern World," he argued that mass rule elevates the "Common Man" to destructive heights, famously stating, "Hitler and Stalin are the Common Man," thereby illustrating a causal pathway from egalitarian impulses to totalitarian mediocrity rather than genuine excellence.^[52] Tate contended that true democracy's role should be to enable individuals to become "uncommon," drawing on historical precedents of aristocratic elites—such as those in classical republics or medieval hierarchies—where virtues like prudence and magnanimity were cultivated through hierarchical structures, as evidenced by the enduring legacies of figures like Pericles or Aquinas, whose influence persisted via selective emulation rather than universal suffrage.^[73] Tate critiqued progressive historicism as a secular myth that romanticizes linear advancement, ignoring the cyclical realities of human nature and moral decay observable in repeated societal collapses from ancient empires to modern industrial excess.^[36] He advocated "reaction" as the radical antidote, defined as pruning modern overgrowth to restore rooted traditions that provide stable moral order, asserting in undated reflections that such conservatism aligns with first-principles recognition of human limits over optimistic reformism.^[56] This stance privileged static cultural norms—verifiable in the longevity of pre-modern agrarian societies' ethical frameworks—over the flux of progressive change, which he saw as eroding communal bonds without empirical gains in virtue. Tate presaged the welfare state's expansion as a byproduct of industrial modernity, foreseeing its regulatory apparatus fostering dependency and diminishing personal accountability, a dynamic he linked to broader federal overreach since the post-Civil War era.^[56] His warnings aligned with causal observations of how state provisions disincentivize self-reliance, later corroborated by data such as rising single-parent households correlating with welfare expansions in the mid-20th century U.S., where dependency rates climbed from under 1% in 1960 to over 20% by 1990 amid program growth.^[56] Tate's emphasis on individual moral agency over redistributive optimism underscored a right-leaning realism about human incentives, prioritizing traditions that historically sustained responsibility without systemic crutches.

Major Works and Bibliography

Poetry Collections

Tate's debut poetry volume, Mr. Pope and Other Poems (1928), featured formal verse exploring spatial, temporal, and historical motifs through structured conceits, including the elegiac "Ode to the Confederate Dead," which meditates on decay and vanished heroism amid autumnal imagery.^[28]^[74] Later volumes such as Poems: 1928-1931 (1932) and Selected Poems (1937) sustained metrical rigor while shifting toward meditations on cultural rupture and personal estrangement, evident in pieces like "The Mediterranean" (1932), which contrasts classical endurance against modern fragmentation.^[28]^[75] Over decades, Tate's output evolved from dense, intellect-driven conceits akin to seventeenth-century models—prioritizing ironic tension and symbolic compression—to later works incorporating Catholic sacramental elements, as in Poems, 1948-1952 (1952), yet consistently upholding traditional prosody against free verse trends.^[18] This progression, spanning roughly 14 collections, emphasized form as a bulwark for themes of irrevocable loss, with rhythmic discipline countering existential drift in poems like "The Swimmers" (1952).^[28]^[2] Tate's verse endured through frequent anthologization, particularly "Ode to the Confederate Dead," which appeared in numerous mid-century compilations and public recitations, affirming its formal precision and thematic gravity amid shifting literary tastes.^[76] The capstone Collected Poems, 1919-1976 (1977) compiled this trajectory, documenting over five decades of output marked by thematic continuity in bereavement and disciplined structure.^[77]^[78]

Prose, Essays, and Biographies

Tate's biographical works centered on Confederate figures, framing them through lenses of personal agency and historical causality rather than deterministic forces. In Stonewall Jackson: The Good Soldier (1928), he depicted the general's life as a model of disciplined faith and tactical decisiveness, attributing Jackson's successes to individual moral conviction amid the contingencies of Civil War campaigns.^[2] His subsequent biography, Jefferson Davis: His Rise and Fall (1929), portrays the Confederate president as a principled defender of states' rights whose abstract constitutionalism clashed with wartime exigencies, resulting in strategic missteps like overreliance on defense and failure to secure foreign alliances; Tate presents Davis not as a villain but as an admirable failure whose theoretical commitments to sectional sovereignty exposed the limits of ideology against material realities.^[26]^[79] Turning to essays, Tate's Reason in Madness: Critical Essays (1941) assembles analyses of poets including John Keats, Emily Dickinson, and T.S. Eliot, critiquing how modern literary fragmentation mirrors broader cultural dissociation from tradition and reason; he contends that wartime and interwar conditions have eroded capacities for moral judgment and coherent expression, positioning poetry as a site of tension between historical consciousness and subjective impulse.^[80]^[81] This volume targets the dissociation of sensibility in post-Romantic verse, advocating a return to integrated intellect and emotion through rigorous formal analysis. The Man of Letters in the Modern World: Selected Essays, 1928-1955 (1955) expands these themes across 27 pieces, interrogating the writer's obligations in an era of mass culture and secular rationalism; essays such as "The New Provincialism" argue for localized cultural attachments as antidotes to rootless universalism, while "To Whom is the Poet Responsible?" probes accountability to tradition over audience or ideology, emphasizing the critic's role in preserving literary standards against populist dilution.^[82] Subsequent compilations, including Collected Essays (1959) and Essays of Four Decades (1969), consolidate these arguments with additional critiques of figures like Hart Crane and W.B. Yeats, systematically documenting Tate's opposition to modernist abstraction and advocacy for poetry grounded in historical and metaphysical order.^[83]^[84]

Editorial and Correspondence Contributions

Tate served as editor of the Sewanee Review from 1944 to 1946, leveraging his experience to elevate the journal's focus on rigorous literary standards amid postwar cultural shifts.^[28] In his Autumn 1944 editorial, "The State of Letters," he outlined priorities including contributor compensation and the promotion of substantive criticism, positioning the review as a venue for emerging literature grounded in formal analysis rather than transient ideologies.^[85] Under his tenure, the journal debuted distinctive blue covers and expanded fiction publications, fostering voices aligned with New Criticism's emphasis on intrinsic textual structure over extrinsic social commentary.^[86] As an advisory editor for the Kenyon Review, founded by John Crowe Ransom in 1939, Tate contributed to its role as a key platform for formalist aesthetics during the 1940s and beyond.^[34] This involvement reinforced the journal's resistance to ideologically driven interpretations, prioritizing close reading and irony in poetry and prose, in contrast to contemporaneous Marxist or progressive literary trends.^[51] Tate's editorial influence helped sustain a countercurrent to dominant academic and journalistic biases favoring utilitarian or egalitarian readings of texts. Tate's correspondence, particularly with Ransom and Donald Davidson, revealed candid expressions of his traditionalist worldview, unfiltered by the constraints of public essays.^[87] Exchanges documented in collections such as The Literary Correspondence of Donald Davidson and Allen Tate (1974) exposed his insistence on historical continuity and skepticism toward abstract egalitarianism, themes muted in his formal publications.^[88] These letters, published posthumously, underscore Tate's behind-the-scenes advocacy for a literature rooted in regional and metaphysical realism over modernist fragmentation or ideological conformity.^[89] In anthologies like A Southern Vanguard: The John Peale Bishop Memorial Volume (1947), which Tate edited, he curated selections of essays and poems to memorialize Southern literary figures and preserve a canon emphasizing moral order and cultural particularity against homogenizing national narratives.^[90] This effort highlighted contributors from the Fugitive-Agrarian circle, countering dilutions of regional traditions in broader American literary surveys.^[91] Through such compilations, Tate shaped discourse by privileging works that interrogated modernity's disruptions without deference to prevailing progressive orthodoxies in academia.^[2]

Awards, Honors, and Recognition

Literary Prizes and Appointments

Allen Tate was appointed Consultant in Poetry to the Library of Congress, the position that preceded the official title of Poet Laureate Consultant, serving from October 1943 to 1944 during World War II, a role that affirmed his prominence in American letters amid national exigencies.^[28] Tate secured Guggenheim Fellowships, including support that facilitated dedicated periods for his creative and critical output independent of academic duties.^[28] Among his major literary prizes, Tate received the Bollingen Prize for Poetry in 1956, administered by Yale University and carrying a $1,000 award, recognizing sustained excellence in verse.^[92]^[93] In 1961, he was honored with the Brandeis Creative Arts Medal in Poetry for lifetime achievement.^[94] Later, in 1976, the National Institute of Arts and Letters conferred upon him the National Medal for Literature, including a $10,000 stipend, for his contributions to poetry, criticism, and biography.^[95]

Academic and Institutional Roles

Allen Tate held several professorships that shaped literary education in the mid-20th century, focusing on rigorous textual analysis aligned with New Criticism principles. From 1939 to 1942, he served as poet-in-residence at Princeton University, where he instructed students in poetry and criticism, emphasizing formal structure over biographical or historical extrinsicism. He later taught at the University of Chicago, contributing to graduate seminars on modern literature and poetic technique.^[11] Tate's longest academic tenure was at the University of Minnesota, where he joined as a professor of English in 1951 and remained until his retirement in 1968, becoming the institution's first Regents' Professor.^[75] In this role, he mentored students and faculty in close reading practices that prioritized the text's internal coherence, influencing the pedagogical methods of New Criticism proponents and their successors, such as through collaborative efforts with contemporaries like Cleanth Brooks in advancing formalist approaches to verse.^[49] His classrooms fostered a disciplined engagement with literature that resisted impressionistic interpretations, training scholars who carried these methods into broader academic discourse.^[96] Beyond regular appointments, Tate delivered guest lectures at institutions including Harvard, Columbia, and Sewanee, where he critiqued emerging academic trends toward relativism and subjectivism, arguing for objective standards in literary judgment derived from tradition and craft.^[97] During the 1960s, amid campus unrest, Tate maintained institutional stances against radical disruptions, advocating for preserved scholarly integrity and conservative literary inquiry that upheld canonical works against ideological impositions.^[36] His efforts helped sustain pockets of traditionalist criticism amid shifting departmental priorities.

Legacy, Influence, and Controversies

Impact on Conservative Thought and Literature

Tate's essays in I'll Take My Stand (1930), particularly "Notes on Liberty and Property," articulated an agrarian critique of industrial capitalism and centralized power, emphasizing rooted local economies as bulwarks against cultural homogenization.^[98] This anti-globalist strain resonated with later paleoconservative thinkers, who drew on Agrarian principles to oppose post-World War II economic consolidation and suburban sprawl. Wendell Berry, in works like his 2012 Jefferson Lecture, explicitly invoked Tate's framework to argue for affection-based land stewardship over abstract market forces, positioning Tate's ideas as foundational to a tradition of place-based conservatism that prioritizes community self-reliance.^[99] Berry's subscription to Tate's view of property as tied to moral liberty extended Agrarianism into contemporary debates on sustainable farming and resistance to agribusiness dominance.^[100] As a proponent of New Criticism, Tate championed formalism's focus on a poem's intrinsic structure, irony, and tension, rejecting biographical or historical extrinsicism in favor of the text's autonomous unity.^[49] This approach, co-developed with figures like John Crowe Ransom, fortified literary analysis against mid-century relativism, providing tools for "textual originalism" in criticism—interpreting works through their formal intent rather than imposed ideologies.^[101] By the 1980s, amid deconstruction's rise, Tate's insistence on objective reading endured in conservative literary circles, countering Jacques Derrida's indeterminacy by reaffirming language's capacity for stable meaning grounded in tradition.^[102] Critics like those in traditionalist outlets credited New Criticism's legacy, including Tate's, with sustaining rigorous close reading as a defense of aesthetic hierarchy over postmodern fragmentation.^[103] Post-1979 scholarship in traditionalist publications documents Tate's ongoing citation as a touchstone for cultural preservation amid modernity's disruptions. Journals such as Chronicles portrayed him as a "radical conservative" whose Southern worldview critiqued egalitarian abstractions in favor of hierarchical order and religious symbolism.^[56] The Imaginative Conservative referenced his dictum that societies derive legitimacy from transcendent truths, not salvageable forms, influencing debates on conserving pre-liberal traditions.^[36] These invocations, spanning the 1980s to 2020s, underscore empirical continuity in right-leaning intellectual networks, where Tate's fusion of poetry and polemic modeled resistance to progressive historicism.^[20]

Criticisms from Progressive Perspectives

Progressive critics, particularly within academic literary studies, have charged Allen Tate's participation in the Southern Agrarian manifesto I'll Take My Stand (1930) with perpetuating reactionary racism by idealizing a pre-industrial South that preserved racial hierarchies and segregationist structures, often framing the Agrarians' anti-modernist stance as a veiled defense of white supremacy rather than a critique of Northern industrialism.^[104] Similar objections extend to implied sexism, portraying the Agrarians' emphasis on hierarchical social orders and rural patriarchy as endorsing gender traditionalism that subordinated women to domestic roles amid economic stasis.^[105] These interpretations, however, frequently overlook Tate's own admissions of Southern deficiencies, including racial prejudices and cultural insularity, which he addressed in essays like "The Profession of Letters in the South" (1935), where he lamented the region's historical evasions and intellectual limitations without excusing its moral failings.^[106] Tate's role in formulating New Criticism has drawn left-leaning rebukes for promoting textual autonomy and formal analysis as a means of political evasion, allegedly depoliticizing literature to shield canonical works—often by white male authors—from scrutiny over embedded ideologies of race, class, and gender, thereby aligning with midcentury conservative resistance to social reform.^[107] Such critiques position the approach as complicit in maintaining elite cultural gatekeeping, prioritizing aesthetic "tension" over contextual power dynamics. Tate rebutted this by insisting on literature's rootedness in tradition as a bulwark against ideological distortion, as articulated in "Tension in Poetry" (1938), where he argued that true criticism demands fidelity to historical continuity rather than subordinating art to transient politics.^[108] Following the civil rights era and cultural upheavals of the 1960s, progressive assessments have often relegated Tate's oeuvre to irrelevance, viewing his defense of regional identity and skepticism toward egalitarian universalism as anachronistic relics incompatible with multicultural pluralism and identity-driven scholarship.^[109] This dismissal posits his influence as confined to reactionary enclaves, eclipsed by postmodern and postcolonial paradigms. Yet, conservative thinkers have sustained appropriations of Tate's emphasis on metaphysical order and communal bonds, applying them to contemporary debates on globalization and cultural erosion, demonstrating persistent intellectual traction beyond progressive narratives of obsolescence.^[110]

Enduring Relevance in Cultural Debates

Tate's critique of modernity as eroding communal bonds and fostering individual isolation anticipated empirical trends in social disconnection observed decades later. In essays and poetry, he lambasted modernist subjectivity for severing ties to historical and religious traditions, portraying modern man as alienated from enduring truths of God and humanity.^[111]^[36] This prescience aligns with data indicating a widespread loneliness epidemic in the United States, where approximately one in two adults reported experiencing loneliness prior to the COVID-19 pandemic, with rates persisting into the 2020s amid declines in social capital.^[112] U.S. Surgeon General Vivek Murthy's 2023 advisory highlighted how such isolation correlates with heightened risks of mental health disorders, cardiovascular disease, and premature mortality, outcomes traceable to the fragmentation of local, tradition-bound communities that Tate championed through Southern Agrarianism.^[112] Tate's advocacy for hierarchical, tradition-rooted societies as stabilizers against cultural dissolution contrasts with the observed destabilizing effects of identity politics, which prioritize group-based grievances over shared civic norms. He argued that preserving "the truth of God and man" undergirds viable social orders, a view empirically supported by studies linking strong social connections—often cultivated in religious or familial hierarchies—to improved health outcomes and reduced early death risks.^[36]^[113] Identity politics, by contrast, has been critiqued for corroding patriotic unity and demanding exemptions from equal legal standards, exacerbating divisions rather than fostering resilience, as evidenced by rising polarization metrics in Western democracies since the 2010s.^[114] While progressive scholars often frame traditionalism as regressive—drawing from institutionally left-leaning academia that downplays data on community cohesion in faith-based structures—Tate's causal emphasis on rooted traditions holds against verifiable failures of atomizing ideologies, such as elevated loneliness among younger demographics detached from inherited norms.^[115] In ongoing debates over cultural renewal, Tate's insistence on reconciling individual tension with collective myth endures as a counter to politicized narratives that attribute societal ills solely to systemic inequities, ignoring first-order causes like the abandonment of agrarian and religious anchors. Empirical validations include correlations between declining participation in traditional institutions and surges in anxiety (81% of lonely adults report it versus 29% of connected ones), underscoring the practical superiority of hierarchical models for stability over egalitarian experiments prone to entropy.^[116] Though mainstream outlets, influenced by progressive biases, marginalize such traditionalist insights, Tate's framework invites rigorous assessment via outcomes: communities retaining pre-modern elements demonstrate lower isolation rates, affirming his warnings against modernity's unchecked advance.^[112]^[36]

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[85]
Collected essays : Tate, Allen, 1899 - Internet Archive
Apr 8, 2013 · Collected essays ; Publication date: 1959 ; Topics: Literature, American literature, English literature ; Publisher: Denver, A. Swallow ; Collection ...Missing: expanded | Show results with:expanded
[86]
Essays of Four Decades - Allen Tate - Google Books
This classic collection of nearly fifty essays by one of the century's most acclaimed poets and literary critics speaks poignantly to the concerns of ...
[87]
https://muse.jhu.edu/article/45533/summary
[88]
125 Years of SR - The Sewanee Review
1943 marked the first publication of fiction. Allen Tate's first issue as editor, debuting P. J. Conkwright's blue cover. In his tenure, Tate also published ...
[89]
Allen Tate: An Orthodox Man - Project MUSE
The Brooks-Tate letters do not offer as much discussion of poetry and criticism as does Tate's correspondence with Donald Davidson and John Crowe Ransom.
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The Agrarian Thought of John Crowe Ransom, Allen Tate, and ...
The Literary Correspondence of Donald Davidson and Allen Tate.Donald Davidson & Allen Tate - 1974. John Crowe Ransom's Secular Faith.Kieran Quinlan - 1989.
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John Crowe Ransom and Allen Tate: At Odds about the Ends of ...
His discussion focuses particular attention on John Crowe Ransom and Allen Tate and how they diverged in their philosophies of intellect and the written word.
[92]
The John Peale Bishop Memorial Volume. by Allen Tate - jstor
May 17, 2014 · A SOUTHERN VANGUARD: The John Peale Bishop Memorial Volume. Edited by Allen Tate. New York: Prentice-Hall, Inc. [I947.] xi,. 331 PP. $4.50 ...
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[PDF] A Southern Vanguard The John Peale Bishop Memorial Volume
The Joan Peale Bishop Memorial Volume. [Essays and Poems by Various. Authors.] Edited by A. Tate John Orley Allen TATE,John Peale Bishop,1947 A Southern ...
[94]
https://www.brandeis.edu/creative-arts/award/past-recipients.html
[95]
Bollingen Poetry Prize Awarded to Allen Tate - The New York Times
The prize carries a cash award of $1,000. It is an annual gift of the Bollingen Foundation, a philanthropic thrust established by Paul Mellon. Until 1949 the ...
[96]
Past Recipients | Brandeis Creative Arts Award and Medal
Brandeis Creative Arts Award and Medal · Creative Arts Award Recipient 2023 ... Allen Tate, Poetry, Medal. 1961, Billy Jim Layton, Music, Citation. 1961, George ...
[97]
Allen Tate Gets $10.000 Letters Prize - The New York Times
May 20, 1976 · Allen Tate, poet, critic, and teacher, was awarded the National Medal for Literature and $10.000 yesterday at the 35th annual ceremony of ...
[98]
Remembering Cleanth Brooks - Chronicles Magazine
Apr 21, 2022 · Cleanth Brooks, one of the giants of literary criticism, died last May 10. He was 87 years old. He taught thousands of us how to read a poem ...
[99]
Allen Tate, Poet - WinCity Voices
Aug 19, 2025 · He died in Vanderbilt Hospital on February 9, 1979, and was buried at Sewanee. The Winchester Sun ran a glowing obituary. Over the years the Sun ...
[100]
Wendell Berry's 400-Year-Old Debts - Abbeville Institute
May 10, 2024 · I read I'll Take My Stand when I was a student, and I still often go back to it and to Allen Tate's essays about the South and about regionalism ...
[101]
Wendell E. Berry Lecture: "It all turns on affection" - Resilience.org
Apr 25, 2012 · It is by imagination that knowledge is “carried to the heart” (to borrow again from Allen Tate). ... Wendell Berry · Wendell Berry is a ...
[102]
[PDF] Wendell Berry - SkyRoot Farm
In this new essay, Berry explores the profound differences between an economic system based on agrarian ideals and its consumptive, domi- neering opposite, ...
[103]
New Criticism, Formalism, Structuralism, Deconstruction | PDF - Scribd
Notable among these pioneers were John Crowe Ransom and Allen Tate, who developed some of the ideas of Eliot and Richards. The seminal manifestos of the New
[104]
The Old New Criticism and its Critics - First Things
Aug 1, 1993 · The New Criticism was, above all, an assertion that a piece of fiction or poetry or drama could matter, could have significance in and of itself ...Missing: relativism | Show results with:relativism
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New Criticism & Contemporary Theory
It was Paul de Man, after all, who remarked that in America (as opposed to France), New Criticism prepared the ground for deconstruction. Such is the evolution ...
[106]
H-Net Reviews
The racism endemic in Southern Agrarian writings, often discussed by current scholars, was very much an issue for Agrarians and contemporary critics and ...
[107]
RACISM IN THE AGRARIAN MOVEMENT - jstor
and thus racism, is shown in his criticism of industrial civi- lization for ... teristic of the Southern racist. For instance, Owsley brazenly and ...
[108]
<i>Allen Tate: Orphan of the South</i> (review) - Project MUSE
Unlike Edmund Wilson, Malcolm Crowley, Theodore Dreiser, John Dos Passos (before his conversion), and Granville Hicks, Tate denied that there was a "Marxist ...
[109]
The Disinterested and Fine: New Negro Renaissance Poetry and ...
Nov 13, 2013 · Mabry's senior colleague, Allen Tate refused to attend, writing in a public letter he sent to the department chair, to other faculty and alumni, ...
[110]
Reassessing the Reassessment: John Glass on Allen Tate
Sep 9, 2016 · While one would like to take him at his word regarding his conversion away from such racist opinions, Tate's correspondence reveals a concern ...Missing: wing | Show results with:wing<|control11|><|separator|>
[111]
The Tate of Our Souls: The Lost Cause of the Southern Agrarians
Jul 27, 2017 · A careful reading of Tate's poetry, essays, and letters—comprising nearly a half-century of output—reveals an ongoing humanizing preoccupation: ...
[112]
https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf
[113]
Allen Tate's criticism of modernisn (position sheet)
Jul 18, 2007 · Consider Allen Tate's criticism of modernism--presented in "Ode to ... modernist subjectivity as entailing a dangerous or destructive or at least ...
[114]
[PDF] Our Epidemic of Loneliness and Isolation - HHS.gov
About one-in-two adults in America reported experiencing loneliness, which was exacerbated by the COVID-19 pandemic. It harms individual and societal health.
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Social connection linked to improved health and reduced risk of ...
Jun 30, 2025 · Loneliness is linked to an estimated 100 deaths every hour—more than 871 000 deaths annually. Strong social connections can lead to better ...Missing: 2020s | Show results with:2020s
[116]
The Promises and Perils of Identity Politics | The Heritage Foundation
Identity politics poses a threat to republican self-government by corroding patriotic ties and demanding special treatment rather than equality under the law.
[117]
New APA Poll: One in Three Americans Feels Lonely Every Week
Jan 30, 2024 · Younger people were more likely to experience these feelings, with 30% of Americans aged 18-34 saying they were lonely every day or several ...
[118]
What is Causing Our Epidemic of Loneliness and How Can We Fix It?
Oct 25, 2024 · In the report, 81% of adults who were lonely also said they suffered with anxiety or depression compared to 29% of those who were less lonely.