Anne Carson Glass Essay Review

Many toil in the interstices of genre; Carson’s palatable, popular, sophisticated and who-cares approach may have done the most and best work in the last two decades to stop people worrying so much about what’s poetry and what’s not. At her less-than-best she’s reliably ingenious, full of charisma and surprise.Lesser poets who behave more predictably and risk less are easier to praise — and not as important. Last year she published “Antigonick,” a handwritten, illustrated retelling of the Sophocles classic.This collection includes: "The Glass Essay", a powerful poem about the end of a love affair, told in the context of Carson's reading of the Bronte sisters; "Book of Isaiah", a poem evoking the deeply primitive feel of ancient Judaism; and "The Fall of Rome", about her trip to "find" Rome and her struggle to overcome feelings of a terrible alienation there.

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One poem describes the landscape G and Sad drive through: Or: Sad “loves driving into this emptiness” and his eyes are “bluer than holes in blue.” That’s breathtaking, filling Sad’s eyes with sky and absence, maybe blindness, and melancholy.

A steady diet of this would pall, but Carson’s also a terrific reporter.

In “Autobiography,” Carson imagines Geryon as a shy, damaged, artistic teenager with wings who has a doomed love affair with Herakles, a charismatic, selfish rebel.

“Autobiography” is whimsical, dark, interestingly creepy and moving.

Hermes is a mysterious man in a silver tuxedo who shows up every now and then to guide them. It’s a format that counterintuitively speeds you down the page, as if creating a chute for language.

Io — the nymph turned into a cow by Zeus, then maddened by Hera’s gadfly — is the loveliest member of G’s herd, a sexy musk ox: Carson has, over the years, moved closer to bizarreness for the sake of bizarreness — but she still pulls it off, mainly because the impulse behind it is mischief. It also constricts in ways that put useful pressure on the poems’ wild music and wilder state of mind.It seems to me — though many readers disagree — to be created out of willed obsession.Geryon and Herakles reunite in “Red Doc,” middle-aged.A classical scholar who came late to poetry, she rose, in the ’90s and ’00s, quickly and deservedly, to prominence.Many readers (including me) first knew her through “The Glass Essay,” a 38-page multipart lyric narrative in 1995’s “Glass, Irony and God.” The poem is an inspired mash-up: a confessional-style “I” recounts a breakup with a lover and a visit to an aged mother while considering the life and writings of Emily Brontë and reporting on her surrealist visions of nudes.Anne Carson's poetry - characterized by various reviewers as "short talks", "essays", or "verse narratives" - combines the confessional and the critical in a voice all her own.Known as a remarkable classicist, Anne Carson in Glass, Irony and God weaves contemporary and ancient poetic strands with stunning style.She walks on the moors, they take a trip to see her father who has advanced Alzhiemers. At the middle of the moorwhere the ground goes down into a depression,the ice has begun to unclench. The narrator is recovering from a break up, and she’s reading a lot of her favourite author: Emily Bronte. Geryon is now G, still a cattle-herder (of sorts) if not much of an artist, though he reads Proust and Daniil Kharms, the Russian Soviet-era surrealist-absurdist.Herakles is now called Sad But Great — “Sad,” for short. This adds a welcome political dimension rarely seen elsewhere in Carson’s work.


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