Virginia Konchan, in Jacket, described Dybek’s poetry as “the work of a master prose stylist… Bluntly put, Dybek’s poems are less interested in remaining open to multiple interpretations as they are to capturing—I might even say nailing—moments of spiritual evisceration.” His two collections of poetry have been praised for their careful imagery, cool observation, and social witness. Reviewing Streets in Their Own Ink, Konchan noted that, “throughout Dybek’s second poetry collection, he brings to bear a poet’s sensitivity to the power of image, with the imaginative sympathies of a writer of fiction. The poems can be read, and in indeed offer themselves up to be read, as clean, spare dialogues with the ghosts of history and memory.”
Dybek’s fiction—including his highly praised debut, Childhood and Other Neighborhoods—is also populated by “the ghosts of history and memory,” a topic Dybek addressed in an interview with Robert Birnbaum. Dybek said: “For me, memory and recollection can just as well be a non-ordinary experience. Memory is so subjective, to start out with. You can inhabit the world of memory in a way that someone can inhabit the world of dreams or the world of hashish visions, mental illness, religious experience, all those kinds of ecstatic, semi-ecstatic states, and that still fascinates me. And by the way, I am not saying that linearity can’t express those states. Of course it can. So the form of a piece, whether it’s a painting or a piece of writing or piece of music, that kind of essential philosophical bias that the artist has is going to express itself in form, whether it’s fragmentation or experiments with time. They are going to reflect a philosophical point of view, one you might not exactly know you have. That is, you haven’t worked it in its entirety.”
The recipient of numerous honors and awards, including fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and the MacArthur Foundation, Dybek has also received a PEN/Malamud Prize, a Lannan Award, a Whiting Writers Award, and several O.Henry Prizes. His fiction, poetry, and nonfiction have appeared widely in journals such as Harper’s, Poetry, Tin House, the Atlantic, and the New Yorker. He teaches at Western Michigan University and lives in Kalamazoo, Michigan.
- Brass Knuckles, University of Pittsburgh Press, 1979.
- Streets in Their Own Ink, Farrar, Straus & Giroux (New York, NY), 2004.
- Childhood and Other Neighborhoods (short stories), Viking (New York, NY), 1980; reissued University of Chicago Press, 2003.
- The Coast of Chicago (short stories), Knopf (New York, NY), 1990; reissued Picador, 2003.
- I Sailed with Magellan, Farrar, Straus & Giroux, 2003.
- Ecstatic Cahoots: Fifty Short Stories, Farrar, Straus & Giroux, 2014.
- Paper Lantern: Love Stories, Farrar, Straus & Giroux, 2014.
- Detroit News Magazine, June 14, 1981.
- Los Angeles Times, April 17, 1980.
- Los Angeles Times Book Review, May 20, 1990, pp. 3, 9.
- New York Times, April 20, 1990.
- New York Times Book Review, February 24, 1980, pp. 14-15; May 20, 1990, p. 30.
- Times (London), May 23, 1991, p. 20.
- Times Literary Supplement, July 26, 1991, p. 19.
- Tribune Books (Chicago), April 8, 1990, pp. 1, 4.
- Voice Literary Supplement, April, 1990, p. 6.
- Washington Post, July 26, 1990.
- Washington Post Book World, January 13, 1980, pp. 1-2.
Poems By STUART DYBEK
Articles About STUART DYBEK
Audio & PodcastsChicago Poetry Tour Podcast
Art Institute of Chicago
The Art Institute was surrounded by railyards when it was first built, emblematic of Chicago’s roots in industry and the arts. Stuart Dybek, Lisel Mueller, W.S. Di Piero, and others read.
Pilsen was a diverse neighborhood in Chicago long before anybody used the word “diversity.” Stuart Dybek and Ana Castillo read poems inspired by their childhoods there.
Mary Karr and Stuart Dybek
Mary Karr and Stuart Dybek read from their own work and discuss how writing poetry relates to writing prose.
"That discrete first pock"
Poems by Kathleen Raine, Denise Levertov, W.S. Di Piero, Claudia Emerson, and Stuart Dybek; plus Mary Ruefle on fear and poetry.
LIFE SPAN 1942–