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Kay Ryan (born September 21, 1945)[1] is an American poet and educator. She has published seven volumes of poetry and an anthology of selected and new poems. From 2008 to 2010 she was the sixteenth United States Poet Laureate.[2] In 2011 she was named a MacArthur Fellow[3] and she won the Pulitzer Prize.[4]

Key Information

Biography

[edit]

Ryan was born in San Jose, California,[5] and was raised in several areas of the San Joaquin Valley and the Mojave Desert.[6][7] After attending Antelope Valley College, she received bachelor's and master's degrees in English from University of California, Los Angeles.[8] Since 1971, she has lived in Marin County, California, and has taught English part-time at the College of Marin in Kentfield.[9] Carol Adair, who was also an instructor at the College of Marin, was Ryan's partner from 1978 until Adair's death in 2009.[10][11]

Her first collection, Dragon Acts to Dragon Ends, was privately published in 1983 with the help of friends.[12] While she found a commercial publisher for her second collection, Strangely Marked Metal (1985), her work went nearly unrecognized until the mid-1990s, when some of her poems were anthologized and the first reviews in national journals were published.[13] She became widely recognized following her receipt of the Ruth Lilly Poetry Prize in 2004, and published her sixth collection of poetry, The Niagara River, in 2005.

In July 2008, the U.S. Library of Congress announced that Ryan would be the sixteenth United States Poet Laureate for a one-year term commencing in Autumn 2008. She succeeded Charles Simic.[2] In April 2009, the Library announced that Ryan would serve a second one-year term extending through May 2010.[14] She was succeeded by W.S. Merwin in June 2010.[15]

She is a lesbian, and was the first openly lesbian United States Poet Laureate.[16]

Poetry

[edit]

The Poetry Foundation's website characterizes Ryan's poems as follows: "Like Emily Dickinson and Marianne Moore before her, Ryan delights in quirks of logic and language and teases poetry out of the most unlikely places. She regards the 'rehabilitation of clichés,' for instance, as part of the poet’s mission. Characterized by subtle, surprising rhymes and nimble rhythms, her compact poems are charged with sly wit and off-beat wisdom." J. D. McClatchy included Ryan in his 2003 anthology of contemporary American poetry.[17] He wrote in his introduction, "Her poems are compact, exhilarating, strange affairs, like Satie miniatures or Cornell boxes. … There are poets who start with lived life, still damp with sorrow or uncertainty, and lead it towards ideas about life. And there are poets who begin with ideas and draw life in towards their speculations. Marianne Moore and May Swenson were this latter sort of artist; so is Kay Ryan."[17]

Ryan's poems are often quite short. In one of the first essays on Ryan, Dana Gioia wrote about this aspect of her poetry:

"Ryan reminds us of the suggestive power of poetry–how it elicits and rewards the reader’s intellect, imagination, and emotions. I like to think that Ryan’s magnificently compressed poetry – along with the emergence of other new masters of the short poem like Timothy Murphy and H.L. Hix and the veteran maestri like Ted Kooser and Dick Davis – signals a return to concision and intensity."[13]

He went on to state that Ryan tends to avoid using the personal "I" in her poetry, claiming that she "didn’t want confession. [She] didn’t want to be Anne Sexton."[18] Though distanced, her work is often deeply introspective, analyzing both the nature of the mind[19] and the ability of language to mold reality.[20]

Many reviewers have noted an affinity between Ryan's poetry and Marianne Moore's.[21]

In addition to the oft-remarked affinity with Moore, affinities with poets May Swenson, Stevie Smith, Emily Dickinson, Wendy Cope, and Amy Clampitt have been noted by some critics. Thus, Katha Pollitt wrote that Ryan's fourth collection, Elephant Rocks (1997), is "Stevie Smith rewritten by William Blake" but that Say Uncle (2000) "is like a poetical offspring of George Herbert and the British comic poet Wendy Cope."[22] Another reviewer of Say Uncle (2000) wrote of Ryan, "Her casual manner and nods to the wisdom tradition might endear her to fans of A. R. Ammons or link her distantly to Emily Dickinson. But her tight structures, odd rhymes and ethical judgments place her more firmly in the tradition of Marianne Moore and, latterly, Amy Clampitt."[23]

Ryan's wit, quirkiness, and slyness are often noted by reviewers of her poetry, but Jack Foley emphasizes her essential seriousness. In his review of Say Uncle he writes, "There is, in short, far more darkness than 'light' in this brilliant, limited volume. Kay Ryan is a serious poet writing serious poems, and she resides on a serious planet (a word she rhymes with 'had it'). Ryan can certainly be funny, but it is rarely without a sting."[24] Some of these disjoint qualities in her work are illustrated by her poem "Outsider Art", which Harold Bloom selected for the anthology The Best of the Best American Poetry 1988–1997.

Ryan is also known for her extensive use of internal rhyme. She refers to her specific methods of using internal rhyme as "recombinant rhyme." She claims that she had a hard time "tak[ing] end-rhyme seriously," and uses recombinant rhyme to bring structure and form to her work. As for other types of form, Ryan claims that she cannot use them, stating that it is "like wearing the wrong clothes."[25]

Honors and awards

[edit]

Ryan's awards include a 1995 award from the Ingram Merrill Foundation,[2] the 2000 Union League Poetry Prize,[26] the 2001 Maurice English Poetry Award for her collection Say Uncle,[14] a fellowship in 2001 from the National Endowment for the Arts,[27] a 2004 Guggenheim Fellowship, and the 2004 Ruth Lilly Poetry Prize. Her poems have been included in three Pushcart Prize anthologies,[28][29][30] and have been selected four times for The Best American Poetry;[31][32][33] "Outsider Art" was selected by Harold Bloom for The Best of the Best American Poetry 1988–1997. Since 2006, Ryan has served as one of fourteen Chancellors of The Academy of American Poets.[34] On January 22, 2011, Ryan was listed as a finalist for a 2011 National Book Critics Circle Award.[35] On April 18, 2011, she won the annual Pulitzer Prize for Poetry, calling her collection The Best of It: New and Selected Poems (Grove Press) "a body of work spanning 45 years, witty, rebellious and yet tender, a treasure trove of an iconoclastic and joyful mind."[4][36][37]

On September 20, 2011, Ryan was awarded a John D. and Catherine T. MacArthur Foundation Fellowship, or "genius grant".[3][38]

In 2013, she received a 2012 National Humanities Medal from President Barack Obama.[39] She was a 2015 invited Fellow at the James Merrill House in Stonington, CT.

Poetry collections

[edit]
  • —— (1983). Dragon Acts to Dragon Ends. Fairfax, California: Taylor Street Press. ISBN 9780911407006.
  • —— (1985). Strangely Marked Metal. Providence, Rhode Island: Copper Beech Press. ISBN 9780914278467.
  • —— (1994). Flamingo Watching. Providence, Rhode Island: Copper Beech Press. ISBN 9780914278641.
  • —— (1996). Elephant Rocks. New York: Grove Press. ISBN 9780802115867.
  • —— (2000). Say Uncle. New York: Grove Press. ISBN 9780802137173.
  • —— (2005). The Niagara River. New York: Grove Press. ISBN 9780802142221.
  • —— (2008). Jam Jar Lifeboat & Other Novelties Exposed. Illustrated by Carl Dern. San Francisco: Red Berry Editions. ISBN 9780981578118.
  • —— (2010). The Best of It: New and Selected Poems. New York: Grove Press. ISBN 9780802119148.
  • —— (2015). Erratic Facts. New York: Grove Press. ISBN 9780802124050.

References

[edit]
[edit]
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Kay Ryan

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from Grokipedia
Kay Ryan (born September 21, 1945) is an American poet renowned for her concise, witty, and rhythmically dense verse, often compared to the styles of and . Born in , she grew up in the rural towns of the and the , experiences that influenced her themes of isolation and resilience. She earned bachelor's and master's degrees from the (UCLA). Ryan's career spans over five decades, during which she taught remedial English part-time for more than 30 years at the in Kentfield, , while living in Marin County with her partner, Carol Adair, from 1971 until Adair's death in 2009. She published her first collection, Dragon Acts to Dragon Ends, in 1983, followed by notable volumes such as Flamingo Watching (1994), Elephant Rocks (1996), (2000), The Niagara River (2005), the Pulitzer Prize-winning The Best of It: New and Selected Poems (2010), and Erratic Facts (2015). Her is characterized by tight compression, recombinant rhyme, and a barbed that explores everyday paradoxes and human limitations. In 2008, Ryan was appointed the 16th Consultant in Poetry to the , serving until 2010 and focusing her tenure on students through her initiative “Poetry for the Mind’s Joy,” which included a national poetry-writing contest, video conferences, and the establishment of as Community College Poetry Day. She has been a Chancellor of the since 2006. Among her many honors are the Poetry Prize (2004), a MacArthur Fellowship (2011), the (2012), Guggenheim and Ingram Merrill Foundation fellowships, a fellowship, three Pushcart Prizes, the Union League Poetry Prize, and the Maurice English Poetry Award.

Early Life and Education

Childhood and Upbringing

Kay Ryan was born on September 21, 1945, in , into a working-class family. Her mother worked as an elementary school teacher before having children, while her father held various manual labor jobs, including as an oil well driller, hand, and prospector staking a claim. The family's nomadic lifestyle, driven by her father's employment opportunities, led to frequent moves across small towns in California's San Joaquin Valley and the Mojave Desert, where they eventually settled in Rosamond. This pattern of relocation exposed Ryan to isolated rural environments marked by vast, arid landscapes and agricultural labor, cultivating her acute observational skills and a profound sense of detachment from more settled communities. These formative experiences in the harsh, transient settings of California's interior also shaped her enduring fascination with themes of isolation, nature, and impermanence. Her father died when she was 19, an event that prompted her to begin writing . From an early age, Ryan displayed a voracious appetite for , finding solace and intellectual stimulation in the modest resources available to her, such as small branch libraries and bookmobiles that served the remote areas where her family lived. Her mother's background in likely reinforced this self-directed pursuit of reading, igniting an initial curiosity about that would evolve into a deeper engagement with . After completing high school, she briefly attended before pursuing further studies.

Academic Background

Kay Ryan began her higher education at , a in the area where she grew up, in the early 1960s. There, she started her studies in English, laying the groundwork for her lifelong engagement with literature. She transferred to the (UCLA), where she earned a B.A. in English in 1967 and an M.A. in English in 1968. Following her , Ryan briefly pursued a Ph.D. in at UCLA but discontinued the program, later expressing discomfort with the prospect of becoming "a doctor of something I couldn’t fix." During her time at UCLA, Ryan's coursework emphasized literary analysis and , providing her with a deep foundation in the structures of language and verse. Her has often been compared to that of modernist poets such as , whose compressed and witty style resonates with Ryan's analytical approach. This period honed her early interest in the mechanics of and language, as evidenced by her focus on criticism that dissected form and idiom rather than narrative content.

Professional Career

Teaching and Early Writing

In 1971, Kay Ryan relocated to Marin County, California, where she began teaching part-time remedial English at the , a role she maintained for over 30 years until retiring around 2010. This position allowed her to focus on foundational language skills for non-traditional students, while keeping her schedule light to accommodate other pursuits. During the 1970s and 1980s, Ryan turned seriously to writing, producing her initial works amid her teaching duties. She self-published her first , Dragon Acts to Dragon Ends, in 1983 through a small supported by friends' subscriptions. Her second collection, Strangely Marked Metal, followed in 1985 via Copper Beech Press, marking a shift to a modest commercial outlet for her concise, image-driven verse. Ryan encountered significant challenges in balancing her adjunct with , deliberately restricting her courses to two per week to carve out dedicated writing time. Her early publications saw limited success, with little critical notice or widespread distribution, reflecting the niche audience for her unadorned style. She maintained a strong preference for in her creative process, viewing full commitment to writing as demanding an unwelcome emotional vulnerability. In 1978, Ryan formed a lasting partnership with artist and instructor Carol Adair, who offered essential encouragement as her primary reader and motivator, sustaining Ryan's output through these formative years until Adair's death in 2009.

Poet Laureate and Later Roles

In July 2008, appointed Kay Ryan as the 16th Consultant in Poetry, a position she held from October 2008 to September 2010. This appointment marked her as the first openly individual to serve in the role. As laureate, Ryan focused on making poetry accessible beyond traditional literary circles, drawing on her background in education to bridge everyday experiences with verse. A key initiative during her tenure was the 2009 launch of "Poetry for the Mind's Joy," a project designed to promote among American students and staff. This effort included a national writing contest for participants, a video conference featuring Ryan engaging directly with students, and recognition of exemplary programs at these institutions to underscore 's role in fostering intellectual growth and resilience in non-elite educational environments. Through these activities, Ryan emphasized 's potential to illuminate ordinary challenges, aligning with her goal of expanding its reach in public life. Her retirement from teaching at the coincided with this period, allowing her to focus on full-time writing. Concurrently, she had been elected a of the in 2006, a position she has held since. In the ensuing years, Ryan contributed to literary organizations through guest lectures and residencies, such as her 2011 delivery of the Memorial Lecture at and readings at institutions including in 2013, reinforcing her commitment to public engagement with poetry.

Poetic Style and Themes

Key Characteristics

Kay Ryan's poetry is distinguished by its preference for short, aphoristic forms, typically ranging from 4 to 20 lines, which employ compressed language to distill complex ideas into concise expressions. This brevity creates a sense of air and ease, even as the poems achieve rhythmic density through subtle internal s and her signature "recombinant rhyme" technique, where sounds are redistributed across lines rather than confined to traditional end positions, producing a luminescent echo effect. These elements contribute to a that feels organic and unforced, enhancing the poem's intellectual play without overt ornamentation. A witty, ironic tone permeates Ryan's work, eschewing overt emotion or personal narratives in favor of objective observations drawn from everyday objects and ideas. Her approach remains reserved and unprepossessing, often mordant in its philosophical quizzicality, allowing for impersonal explorations that prioritize detachment over sentiment. This restraint aligns her style with influences like , whose compressed forms similarly favor intellectual precision over emotional excess. Ryan frequently employs , puns, and logical twists to uncover deeper truths, integrating these devices with techniques such as to propel the reader forward and to approximate rather than enforce it. These tools create knotty, mischievous that navigates large conceptual terrain through mischievous , revealing insights via unexpected turns of phrase. Over time, her style evolved from early experimental, prosier forms that felt more willed to a mid-career polish emphasizing brevity guided by and , resulting in even thinner lines and heightened refinement.

Influences and Comparisons

Kay Ryan's poetry draws significant influence from Emily Dickinson's concise and enigmatic style, which emphasizes compressed meanings and sudden insights, as well as Marianne Moore's precision in handling everyday subjects without poetic airs. Critics frequently note these parallels in Ryan's tightly structured, rhythmically dense verses that achieve depth through brevity and wit. The , particularly , impacted Ryan through their use of paradox and intellectual wit, elements she has cited as thrilling in her early reading experiences alongside figures like and . Similarly, modernist poets such as influenced her exploration of perception and reality, with reviewers highlighting shared "small-scale lyric intensity" and a focus on the mind's encounter with the world. In comparisons to contemporaries, Ryan shares accessibility with , particularly in her humorous approach to ordinary life, though her work stands apart through denser intellectualism and subtlety that earns her the designation of a "poet's ." This nuanced quality, marked by sly and layered , distinguishes her amid broader recognition for barbed, recombinant rhymes that unpack profound ideas with deceptive lightness.

Major Works

Poetry Collections

Kay Ryan's earliest poetry collections were self-published or issued by small presses, reflecting her initial forays into print with limited distribution. Her debut volume, Dragon Acts to Dragon Ends (1983), was self-published under Taylor Street Press in , comprising 64 pages of verse that marked her entry into poetry amid her teaching career. This was followed by Strangely Marked Metal (1985), her first commercially published work from Copper Beech Press, which expanded on experimental forms and received modest attention in literary circles. Ryan's breakthrough came in the mid-1990s with collections that garnered wider recognition from established publishers. Flamingo Watching (1994), issued by Copper Beech Press, introduced more refined structures and was nominated for the Lenore Marshall Poetry Prize, signaling her growing presence. This momentum continued with Elephant Rocks (1996), published by , which earned a nomination for the and showcased her ability to blend brevity with depth in 84 pages of poems. Say Uncle (2000), also from , further solidified her reputation with 96 pages exploring relational dynamics, receiving praise for its accessibility. In her mid-career, Ryan's output aligned with major accolades, transitioning to broader audiences. (2005), published by , coincided with her receipt of the Poetry Prize and featured 72 pages of meditative works that contributed to her selection as U.S. . The chapbook (2008), from Red Berry Editions with illustrations by Carol Adair, offered 32 pages of playful, concise pieces responding to randomly selected entries from Ripley's Believe It or Not!, serving as a lighter interlude amid her rising prominence. Her Pulitzer Prize-winning (2010), again from , compiled over 200 poems from prior volumes alongside new works, encapsulating two decades of output and marking a pinnacle of acclaim. Ryan's later volume, Erratic Facts (2015), published by , innovated by interweaving 80 pages of prose and poetry in personal essays, reflecting on memory and observation while maintaining her terse voice. Over her career, Ryan produced seven principal collections plus chapbooks, evolving from small-press experimentalism with Taylor Street and Copper Beech to major imprints like , which amplified her reach and influence in .

Selected Anthologies and Essays

Kay Ryan's The Best of It: New and Selected Poems (2010), published by , compiles over two hundred poems spanning her career from the 1970s to the early 2000s, alongside a substantial selection of previously unpublished works that reflect her evolving style of compressed, aphoristic verse. This anthology serves as a comprehensive retrospective, drawing from earlier collections like Elephant Rocks (1996) and The Niagara River (2005) while introducing new pieces that emphasize her characteristic wit and philosophical brevity. The volume highlights Ryan's ability to distill complex observations into terse forms, offering readers a curated overview without exhaustive reproduction of any single prior book. In Erratic Facts (2015), also from , Ryan ventures into hybrid forms, blending prose poems with short essays that explore themes of failure, perception, and the limits of through lucid, fragmented . The collection features over sixty pieces, each marked by her signature economy, as she examines everyday phenomena—like the unreliability of or the absurdity of —with a mix of humor and melancholy. Unlike her strictly poetic volumes, this work expands into longer, narrative-driven reflections, marking a deliberate shift toward experimentation while retaining her focus on intellectual play. In 2020, Ryan published Synthesizing Gravity: Selected Prose with Grove Press, gathering for the first time a thirty-year selection of her essays that probe aesthetics, poetics, and the mind in pursuit of art. The collection, spanning over 300 pages, showcases her incisive and witty explorations of creativity, failure, and the human condition, extending her poetic concerns into nonfiction form. Ryan's poems have been frequently anthologized, appearing in prestigious volumes such as The Best American Poetry series on four occasions between 1995 and 1999, where selections like "Outsider Art" exemplify her influence on contemporary American verse. These inclusions, along with her representation in The Best of the Best American Poetry 1988–1997, underscore her status among editors and peers as a poet of innovative concision, without her taking on editorial roles in these compilations. Ryan has contributed occasional essays and interviews that delve into the craft of poetry, notably in a 2008 Paris Review interview where she discusses her avoidance of autobiographical content in favor of formal experimentation and "recombinant rhyme." In this dialogue, conducted by Sarah Fay, Ryan articulates her views on poetry's role in capturing the ineffable through deliberate constraint, emphasizing process over personal . Such pieces build subtly on her poetic themes of observation and restraint, providing insight into her methodology without venturing into .

Honors and Recognition

Literary Awards

Kay Ryan received the Ingram Merrill Award in 1995 from the Ingram Merrill Foundation, providing crucial support for her during an early phase of her marked by limited mainstream attention. She also received a fellowship from the in 2001, three Pushcart Prizes, the Poetry Prize in 2000, and the Maurice English Poetry Award in 2001. A pivotal moment came in 2004 with the Ruth Lilly Poetry Prize from the , which awarded her $100,000 for lifetime achievement and elevated her profile, drawing her from relative obscurity into broader literary circles and enabling subsequent publications like The Niagara River (2005). She also received a that year. Her selected volume The Best of It: New and Selected Poems (2010) earned a nomination for the that year and secured the in 2011, celebrating her concise, witty verse spanning decades. In 2011, Ryan was named a MacArthur Fellow by the John D. and Catherine T. MacArthur Foundation, receiving $500,000 over five years without restrictions to foster her ongoing creative endeavors. These accolades, particularly those accumulating after 2004, underscored a late-career surge in recognition for Ryan's innovative voice and its impact on .

Institutional Roles and Legacy

Kay Ryan served as a Chancellor of the from 2006 to 2012, a role in which she participated in board decisions and contributed to initiatives promoting diverse poetic voices across the . In 2012, President presented Ryan with the , recognizing her efforts as a and educator in broadening 's audience and accessibility to non-traditional readers. In 2017, she was elected a member of the American Academy of Arts and Letters. Ryan's legacy as a mentor is evident in her decades-long teaching career at the , where she instructed remedial English for over 30 years, and in her projects, such as "Poetry for the Mind's Joy," which supported engagement at community colleges and influenced emerging writers through accessible workshops and programs. Following 2015, Ryan's activities included her final poetry collection Erratic Facts (2015) and limited new poetry thereafter, but featured continued lectures, residencies, and the 2020 publication of Synthesizing Gravity, a collection of essays; such as a 2019 poetry reading and reflections event at Claremont McKenna College. She has been recognized as a model for late-blooming poets, with her enduring influence rooted in concise, intellectually rigorous verse that prioritizes precision over volume. Ryan's cultural impact lies in bridging academic and popular poetry, as seen in her laureate initiatives that democratized verse for everyday audiences, solidifying her position within the 21st-century American poetic canon through comparisons to figures like for her witty, compressed style.

References

  1. https://www.poetryfoundation.org/poets/kay-ryan
  2. https://www.loc.gov/programs/poetry-and-literature/poet-laureate/poets-laureate/item/n83208007/kay-ryan/
  3. https://poets.org/poet/kay-ryan
  4. https://www.marinij.com/general-news/20090107/carol-adair-college-of-marin-instructor-dies-at-66/
  5. https://drunkenboat.dtc-wsuv.org/db11/04kay/kay/interview.php
  6. https://www.neh.gov/about/awards/national-humanities-medals/kay-ryan
  7. https://www.nytimes.com/2008/07/17/books/17poet.html
  8. https://www.theparisreview.org/interviews/5889/the-art-of-poetry-no-94-kay-ryan
  9. https://danagioia.com/essays/reviews-and-authors-notes/discovering-kay-ryan/
  10. https://www.gracecavalieri.com/poetLaureates/kayRyan.html
  11. https://legacy.marin.edu/success-stories/Kay-Ryan
  12. https://newsroom.ucla.edu/magazine/kay-ryan-national-humanities-medal
  13. https://teach.nwp.org/poet-laureate-kay-ryan-poet-as-teacher-teacher-as-poet/
  14. https://www.csmonitor.com/2004/0825/p25s01-bogn.html
  15. https://www.arts.gov/impact/literary-arts/creative-writing-fellows/kay-ryan
  16. https://poetryinternationalweb.org/pi/site/poet/item/16297
  17. https://www.marinij.com/general-news/20070923/kay-ryan-rises-to-the-top-despite-her-refusal-to-compromise/
  18. https://www.brinkerhoffpoetry.org/poets/kay-ryan
  19. https://loc.gov/loc/lcib/0809/ryan.html
  20. https://guides.loc.gov/poet-laureate-kay-ryan
  21. https://www.beltwaypoetry.com/elephant-kay-ryan/
  22. https://www.loc.gov/programs/poetry-and-literature/poet-laureate/poet-laureate-projects/poetry-for-the-minds-joy/
  23. https://www.youtube.com/watch?v=xxkE1fRJ1yE
  24. https://www.muhlenberg.edu/news/2013/pulitzerprize-winningpoetkayryanjoinslivingwritersseries.html
  25. https://www.loc.gov/loc/lcib/0809/ryan.html
  26. https://www.newyorker.com/magazine/2010/04/12/think-small
  27. https://www.theguardian.com/books/2012/jun/29/kay-ryan-poet-poetry-parnassus
  28. https://persimmontree.org/summer-2011/believe-it-or-not-kay-ryans-poems/
  29. https://www.shmoop.com/study-guides/turtle-kay-ryan/rhyme-form-meter.html
  30. https://poemanalysis.com/kay-ryan/turtle/
  31. https://www.nytimes.com/2010/03/05/books/05book.html
  32. https://www.cleveland.com/books/2010/04/us_poet_laureate_kay_ryan_serv.html
  33. https://www.cleveland.com/books/2010/04/poet_kay_ryan_brings_a_new_boo.html
  34. https://www.poetryfoundation.org/poetrymagazine/articles/69554/the-pigheaded-soul
  35. https://www.trioletrarebooks.com/pages/books/2069/kay-ryan/dragon-acts-to-dragon-ends
  36. https://poetryarchive.org/poet/kay-ryan/
  37. https://www.trioletrarebooks.com/pages/books/989/kay-ryan/flamingo-watching-first-edition
  38. https://www.trioletrarebooks.com/pages/books/1362/kay-ryan/elephant-rocks-first-edition-hardcover-issue-inscribed
  39. https://groveatlantic.com/book/say-uncle/
  40. https://groveatlantic.com/book/the-niagara-river/
  41. https://books.google.com/books?id=ry2821moM20C
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  43. https://groveatlantic.com/book/erratic-facts/
  44. https://archives.yale.edu/repositories/11/resources/11296
  45. https://www.amazon.com/Best-New-Selected-Poems/dp/0802145213
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  48. https://www.theparisreview.org/back-issues/187
  49. https://lithub.com/in-praise-of-a-brazen-poet-on-the-essays-of-kay-ryan-outsider/
  50. https://www.poetryinternational.com/en/poets-poems/poets/poet/102-16297_Ryan
  51. https://www.poetryfoundation.org/articles/68505/animal-magic
  52. https://www.britannica.com/topic/Ruth-Lilly-Poetry-Prize
  53. https://www.chicagotribune.com/2004/05/12/outsider-poet-awarded-100000/
  54. https://www.gf.org/fellows/kay-ryan
  55. https://www.bookbrowse.com/biographies/index.cfm/author_number/1851/kay-ryan
  56. https://www.pulitzer.org/winners/kay-ryan
  57. https://www.macfound.org/fellows/class-of-2011/kay-ryan
  58. https://www.cprw.com/rick-joines-the-gravity-and-levity-of-kay-ryan
  59. https://www.neh.gov/news/press-release/2013-07-08
  60. https://www.artsandletters.org/membership
  61. https://www.cmc.edu/athenaeum/poetry-reading-and-reflections-with-kay-ryan
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