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Strategies of Poetic Remove Erica Levy Mcalpine 2011 This Abstract Lyric Elsewhere: Strategies of Poetic Remove Erica Levy McAlpine 2011 This dissertation analyzes the poems of fourteen poets writing primarily between Romanticism and the present day by focusing on their defensive qualities—when the lyric voice suddenly changes in character or tone, or when the poem's grammar, syntax, language, or way of depicting images denies or sets aside temporarily its main subject matter. I argue that the formal strategies lyric poets use when writing their poems often correspond to the intrapsychic phenomena, including projection, introjection, displacement, repression, and others, that encompass people's inner lives. As such, these psychoanalytic concepts represent the closest possible models for understanding how many of lyric poetry's rhetorical and imaginative processes work. Clarifying this relation between lyric form and intrapsychic defense not only sheds light on how poets compose but also goes some way towards providing a theory for what gives certain poems urgency and broad appeal. My introduction describes the context for my considering poetic craft transhistorically in terms of mechanisms of defense. In the opening pages, I situate my argument among the works of other critics who relate poetry and defense as well as those who represent what has been called the "New Lyric Studies"; I also provide a working definition for "lyric." Each of my four subsequent chapters draws on psychoanalytic ideas in considering poems by three or four authors whose individual poetics share particular modes of defense. Chapter one considers poems by George Herbert, Thomas Hardy, James Wright and Frank Bidart, whose formal strategies, akin to defensive mechanisms such as projection and introjection, figure a lyric speaker temporarily assuming somebody else's voice. In chapter two, I address poems by Edward Thomas, Anthony Hecht, and Elizabeth Bishop that withhold or repress their primary subject matter, either by poetically framing it within a less important narrative or by briefly obscuring the images they claim to prioritize. My third chapter searches the poems of Emily Dickinson, Robert Frost, James Merrill, and Paul Muldoon for jokes, slips, puns, and other psychologically- informed verbal strategies of remove—when a word or a phrase is used unexpectedly or even secretly in a way that may seem to undermine the poem's truth-telling but that actually gives it extra depth and authenticity. Chapter four investigates the work of John Keats, John Clare, and Yusef Komunyakaa—three poets who attempt to recast the world around them in purely textual, and therefore aesthetic, terms. I formulate their poetics vis-a-vis certain unconscious and adaptive defensive maneuvers—including what Sigmund Freud terms "phantasying" and what D. W. Winnicott refers to as "transitional phenomena"—that allow for the safe-enough expression of conflictual wishes and forbidden desires. Together these chapters describe a phenomenon that I call "lyric elsewhere," when a poem, like a mind, denies or escapes its own scenario and enters a realm beyond itself. Implicit in this study is my belief that lyric elsewhere, as a poetic mode that seconds a universal component of human experience, represents a crucial element in the making of certain poems—and is one of the main reasons why we like them. Lyric Elsewhere: Strategies of Poetic Remove A Dissertation Presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy by Erica Levy McAlpine Dissertation Directors: David Bromwich and Langdon Hammer May 2011 UMI Number: 3467518 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI 3467518 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. uest ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 © 2011 by Erica Levy McAlpine All rights reserved. CONTENTS Images ii Acknowledgements iii Introduction: LYRIC ELSEWHERE 1 Chapter One: ASSUMING VOICE 26 1. George Herbert 35 2. Thomas Hardy 43 3. James Wright 50 4. Frank Bidart 60 Chapter Two: KEEPING THE SUBJECT AT BAY 75 5. Edward Thomas 83 6. Anthony Hecht 94 7. Elizabeth Bishop 109 Chapter Three: DEPARTING WORDS 138 8. Emily Dickinson 145 9. Robert Frost 157 10. James Merrill 173 ll.PaulMuldoon 192 Chapter Four: OCCUPYING OTHER WORLDS 202 12. John Keats 208 13. John Clare 229 14. Yusef Komunyakaa 259 Coda: RETURNING FROM ELSEWHERE 271 Works Cited IMAGES 1. Elizabeth Bishop, Meridafrom the Roof 129 2. Elizabeth Bishop, Cabin with Porthole. 131 3. Elizabeth Bishop, Interior with Extension Cord. 131 4. Elizabeth Bishop, 41 Charles Street. 132 ii ACKNOWLEDGEMENTS Many of the ideas in this dissertation have come about through thought-provoking discussions and workshops with my family, friends, and teachers. I would like to thank a few people in particular. My terrific advisors, David Bromwich and Langdon Hammer, for their generosity, encouragement, and help; Leslie Brisman and Paul Fry, for their cheery willingness to read and comment on portions along the way; Geoffrey Hartman, for his notes on the pages about Clare in particular; Mary Jacobus, for getting me started and for giving me my first literary dose of Freud; my wonderful classmates and friends at Yale, including Emily Coit, Andrew Goldstone, Susannah Hollister, Anna Lewis, Sarah Mahurin, Emily Setina, and Matthew Valdiviez, for their intellect and humor in equal parts; my undergraduate teachers, in particular Jorie Graham, Elisa New, Peter Sacks, and Helen Vendler, who gave me poetry, the greatest gift; my husband, Bruce McAlpine, for his love and patience; my parents, Carol and Steve Levy, for their enthusiasm and wisdom. Time and money to pursue work on this project has generously been provided by the John F. Enders Dissertation Research Fund, the Yale Graduate School, and the Cambridge Commonwealth Scholarship Fund; I am grateful for their support. in The poet represents the mind in the act of defending us against itself. Wallace Stevens Introduction LYRIC ELSEWHERE A little boy is caught making ugly faces at his schoolmaster while he is being scolded for misbehavior. The schoolmaster, his face wrinkled and distorted with anger, looks down upon the child, only to find the boy's own twitching and distorted countenance grimacing up at him. A little girl is too scared to wander across the hall at night for fear of encountering ghosts. The next night, her parents observe her flailing and wiggling her arms as she walks, her wild gestures silhouetted black against their home's darkened walls. The boy is neither the innocent victim of a nervous facial tic nor an importune clown purposefully exacerbating his after-school punishment in order to save face among his peers. The girl has not been possessed, nor is she, as Anna Freud explains, displaying the early signs of some impending psychotic break. Rather, these children are performing "one of the most natural and widespread modes of behavior," which Freud calls "identification with the aggressor." By aligning themselves with the object of their dread—in one case the boy involuntarily imitates his schoolmaster's angry expression, in the other, the girl pretends to be a ghost—the children are able to master their anxiety and "[convert it] into pleasurable security."1 Anna Freud's father and predecessor in psychoanalytic study observes a similar phenomenon among children playing. When a ' The concepts and case material in these first three paragraphs have been adapted from Anna Freud, The Ego and the Mechanisms of Defense, revised edition, trans. Cecil Barnes (New York: International Universities Press, Inc., 1966), 110-11. 1 child endures, as a passive recipient, some small feeling of fright or discomfort, he or she will often transfer this feeling to another child: "As the child passes over from the passivity of the experience to the activity of the game, he hands on the disagreeable experience to one of his playmates and in this way revenges himself on a substitute."2 I will be suggesting, throughout this dissertation, that analogues for such mechanisms of defense can be found in the formal strategies that make up lyric poems. With the above case studies in mind, we can observe, for example, how the psychological turn from passive to active operates in the grammatical elements of Seamus Heaney's "Bog Queen." Heaney's poem is a dramatic monologue delivered in the voice of a female corpse that has been exhumed from a peat bog in Jutland. In relating her tale of preservation and decay warring through a body from which almost all personal agency has drained ("my body was braille/ for the creeping influences"), the "bog queen" very nearly settles into passive submission, as her concluding grammar suggests— I was barbered and stripped by a turfcutter's spade —until, in the final stanza, her passive voice gives rise to action again: and I rose from the dark, hacked bone, skull-ware, frayed stitches, tufts, small gleams on the bank.3 Her shift from passive to active verb across the poem's final lines, wherein the plaintive "I was barbered/ and stripped" is transposed into the resurrective "I rose from the dark," 2 Sigmund Freud, "Beyond the Pleasure Principle," in vol. 18 of The Standard Edition of the Complete Psychological Works of Sigmund Freud, in 24 volumes, ed. James Strachey et al. (London: Hogarth Press, 1953-1974), 17. 3 Seamus Heaney, "Bog Queen," in Opened Ground (New York: Farrar, Straus and Giroux, 1998), 109.
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