Decreation poetry essays opera anne carson
Incidentally, Carson is the greatest translator of Sappho that one can imagine, and in matters of elegant expression she lacks nothing.
These pieces show rather than tell; what seems staged is, rather, suspended, eschewing argumentation and logical accumulation. That is, they know love is the touchstone of a true or a false spirituality.
Decreation anne carson
In "Every Exit is an Entrance", Carson uses her virtuoso reading of surprisingly numerous sleep passages in the Odyssey to suggest that sleep itself may be a form of psychodrama. She is interested in her characters in a way that most poets are not. What the poet and the authentic thinker share, according to Heidegger, is their ability to wonder at how things exist and to live with that wonder. Both verse-novels were vibrant, highly worked displays, their poetics founded on rhythms beyond the pentameter - tango's drumbeat in Beauty, speech-rhythm and the line of thought in Autobiography - and on forms of linguistic play verging on neologism. What all this furnishes, though, is not mere cultural impressionism but an interplay of ideas which informs the whole book. In "Guillermo's Sigh Symphony" People kissing stop to sigh then kiss again. Decreation opens with "Stops", a sequence exploring filial love where loving is something done, rather than the idea of a relation. Enthralling, masterful, engaging, stunning, inspired, impressive, profoundly moving, poignant, probing.
Jul 11, Barnaby Thieme rated it it was ok Carson has such a prodigious command of style and form that one is tempted to overlook the lack of passion.
Now we have Decreation, which the accompanying press release describes as "a hybrid of poetry, essay, libretto, screenplay, oratorio and illustration"; and the title-page, more modestly but more encouragingly, as "Poetry, Essays, Opera" though surely opera involves music?
Carson takes risks, subverts literary conventions, and plays havoc with our expectations. As for her subject matter, she writes perceptively and amusingly about men and women in love, their jealousies, their misunderstandings, and the solitude which they are not able to overcome.
Elsewhere in the series, desire for transcendence is emotional and so of a piece with other human longings, such as nostalgia - "Spring Break" recollects a coming of age which itself looked backward with regret - understanding and desire: "In sex she clusters herself on the man's body as if hit by a wind" "Mia Moglie".
She is quite unlike any other poet writing today.
Decreation poetry essays opera anne carson
Even the clear marks seem to be trying to go away. She is in fact writing essays under the discipline of poetics; an extraordinary project which both subverts the humdrum of lit crit and questions the role and limits of poetry itself. Indeed, around one-third of this substantial volume is prose. Humans pass through this book like the shades of the Odyssey who generate speech but not warmth. In the shape traced by Carson's rapid flight patterns one can almost discern a transcendent emptiness, uninhabitable to more stationary souls. Effortless, too, is her ability to give descriptions of the concrete world existential leverage. Carson moves from form to form-poetry, essay, screenplay-and from body to body. She is interested in her characters in a way that most poets are not. They exhibit a certain staginess; like many accomplished theoreticians, Carson is adept at flourishing conclusions as if they were both sleight of hand and there all along. They do amaze, in a volume which challenges the range of poetic possibility. Throughout the book, Carson makes control and surrender both her topic and her practice, producing a deep lyricism almost prior to the images it throws up, that "swarm of clearnesses and do they amaze you".
She writes as if every poet, writer, religious thinker, and philosopher who has ever lived is still our contemporary. In the shape traced by Carson's rapid flight patterns one can almost discern a transcendent emptiness, uninhabitable to more stationary souls.
Anne carson poems
Carson has emerged in the last two decades as a kind of prophet of the unknowable. She is a wonder: an unconventional poet who has a huge following among today's readers of poetry and whose work has been honored with our most prestigious literary awards. The essays in Decreation are full of marvelous insights. In "Every Exit is an Entrance", Carson uses her virtuoso reading of surprisingly numerous sleep passages in the Odyssey to suggest that sleep itself may be a form of psychodrama. A later series, "Sublimes", conflates the human with what is commonly thought of as abstraction. What all this furnishes, though, is not mere cultural impressionism but an interplay of ideas which informs the whole book. Carson attempts [this task] with great tenderness, framing the undoing as a work of love that compels one to forsake oneself in order to be something more-truer, more luminous, and also more transient. Carson's ferocious technical control reduces the sprawl of thought to limpid idea. The richly figured "Sublimes" spring from a preceding "Essay with Rhapsody" exploring "the passionate moment, different ways of spilling its contents". Even the clear marks seem to be trying to go away.
Flowers sigh and two noon bees float backwards. Carson is immensely learned. Here, despite references to Longinus and Antonioni, Carson creates not so much a palimpsest as a kind of cultural telescoping, which cuts to the heart of the problem of human longing. The richly figured "Sublimes" spring from a preceding "Essay with Rhapsody" exploring "the passionate moment, different ways of spilling its contents".
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