Snodgrass's first poems appeared in 1951, and throughout the 1950s he published in some of the most prestigious magazines: Botteghe Oscure, Partisan Review, The New Yorker, The Paris Review and The Hudson Review. However, in 1957, five sections from a sequence entitled "Heart's Needle" were included in Hall, Pack and Simpson's anthology, New Poets of England and America, and these were to mark a turning-point. When Lowell had been shown early versions of these poems, in 1953, he had disliked them, but now he was full of admiration.
By the time Heart's Needle was published, in 1959, Snodgrass had already won The Hudson Review Fellowship in Poetry and an Ingram Merrill Foundation Poetry Prize. However, his first book brought him more: a citation from the Poetry Society of America, a grant from the National Institute of Arts, and, most important of all, 1960's Pulitzer Prize in Poetry. It is often said that Heart's Needle inaugurated confessional poetry. Snodgrass disliked the term. The genre he was reviving here seemed revolutionary to most of his contemporaries, reared as they had been on the anti-expressionistic principles of the New Critics. Snodgrass's confessional work was to have a profound effect on many of his contemporaries, amongst them, most importantly, Robert Lowell.
Being tagged with this label affected his work and its reception and forced him into small-press publication for many years. Two new themes (eventually) restored his reputation, although at the time they first began to appear there was a perception by some that Snodgrass had "wrecked his career".[4] One was The Führer Bunker cycle of poems, monologues by Adolf Hitler and his circle in the closing days of the Third Reich, a "poem in progress" that began to appear from 1977 onwards and was finally completed in 1995. An adaptation of these for the stage was performed in the 1980s.[5] The other theme was the series written in response to DeLoss McGraw's surrealistic paintings, which eventually grew into a partnership. In these poems, often uproariously rhymed, Snodgrass stood his former confessional style on its head at the same time as satirizing contemporary attitudes.
