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ashevi| | epoet ryreview

volume2L, no.l,2014 . issue24

Founder/ManagingEditor Keith Flynn

SeniorEditor Luke Hankins

AssociateEditors Briar DeHaven Brian Sneeden

Editorial Board Emoke Z. B'Racz Robert B. Cumming J.'W. Bonner Pat Riviere-Seel

Staff Writers Patrick Bizzaro PhebeDavidson Janice Moore Fuller Philip Belcher Robert'S7est Sally Buckner I

Interns Shannon'Waldman Hannah Callahan

Design Lowell Allen

Cover Art Eliza Hafer "'When the Eagle Flies with the Condor..." CharlottePence

"Not I!": a personal narrative: Na' Carson'sNox (2010), an< Strategiesof Post-MillennialConfessionalistic Poetry To clarify, the poets I am as Confessional.The inter material - specifically co In this post-millennial age, the line between the private and the public larger context of a concep is increasingly being tested to the extent that the public persona and its broadcasted epiphanies, activities, and confessionssometimes serve as a So, how is the authorial " stand-in for self-reflectionand personal authenticity. Through multi-media books? lfhat are their s outlets such as Facebook, Twitter, and reality shows that chronicle every- universalize rather than 1 thing from one's lunch choicesto Senatefloor deliberations,personal space use a combination of the is increasingly public space. As cultural critic Jonah Lehrer phrased it: between the personal wit "You are who you pretend to be."1 period, political event, or g of a "concept collectionr' \fith the technological ability and pop-cultural fascination to record pri- that often features the afor vate moments and distribute them, poetry that revealspersonal details and focus on form - be it usin conflates the identity between speaker and author must feel the effects of collection's concept; an un what could be viewed as an over-saturation of the confessional- which the "I" or questioning the was during the 1950s and 1,960swith , Anne Sexton, and multiple speakers. Sylvia Plath a political, rebellious act. It is far from that now. In this Kim Kardashian era, revealing sex tapes are used as marketing tools to launch A brief history of the C careerswhereas once they destroyed careers. have moved from such a s Rosenthal first used the Considering the hyper-confessional climate of our era and that define it) in 1959 during z "Confessional" is something of a derogatory label among poets, what Rosenthal finds to be dist are some ways a post-millennial confessionalisticbook can transcend the tied to the Confessional r personal and its particulars? In other words, what options are available to :r{ s speaker. As Rosenthal exl poets who do wish to write about a personal subject matter, but who are I is unequivocally himself, a aware of the barbs and pitfalls of doing so? series of personal confider The answer is, of course, that there are multiple ways - from redefining not to reveal".4 Granted, c what is experience to redefining what is the authorial "I." One strategy "Confessionalr" but typica is to avoid first-person autobiographical perspectivesall together as we $ by Robert Lowell, specific see with the increasing popularity of persona poems. Another strategy is and some of Sylvia Plath I to focus on language as subject rather than self as subject. The strategy I "Lady Lazarusr" and "'W would like to consider concerns the recent proliferation of concept collec- Confessionalismbegan bef tions2 in this era of authorial mistrust. Many of these books are worthy period or poet performs w of analysis, but the three that I will discussrepresent different degreesof also regarded as Confessi distancing the self from the Confessionalwhile at the same time delivering Snodgrass's HeArt's Needle 306 n 1|,

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a personal narcative: Natasha Trethewey's Natiue Guard (2006), Anne Carson's Nor (2010), and Joseph Harrington's Things Come On (201,1). To clarify, the poets I am discussingare not ones who anyone would label as Confessional.The intent is to analyzehow poets treat confessionalistic material - specifically confessionalisticmaterial that is placed within the he private and the public larger context of a concept collection.3 :he public persona and its .ons sometimes serve as a So, how is the authorial "I" downplayed and subverted within thesethree city. Through multi-media books? \7hat are their strategies to move beyond the narcissistic? To hows that chronicle every- universaltze rather than particularize personal experience?These books liberations, personal space use a combination of the following strategies:an inter-disciplinary weave Jonah Lehrer phrased it: befween the personal with another subject such as a specific historical period, political event, or genre other than contemporary poetry; a creation of a "concept collection," meaning a tightly unified grouping of poems fascination to record pri- that often featuresthe aforementioned inter-disciplinary subject; an intense :veals personal details and focus on form - be it using received form or creating forms specific to the or must feel the effects of collection's concept; an undercutting of the "I" through direct omission of the confessional - which the "I" or questioning the "I1" and finally, a polyvocalic concern to include Lowell, Anne Sexton, and multiple speakers. 'om that now. In this Kim marketing tools to launch A brief history of the Confessional poem might help situate how we have moved from such a stance being revelatory to being rehashed.M.L. Rosenthal first used the term "confessional" (but did not elaborately of our era and that 'Sfhat define it) in 1.959 during a review of Robert Lowell's Life Studies. label among poets, what Rosenthal finds to be distinctive about Life Studi and what is now ,c book can transcend the tied to the Confessional school - is the conflation between poet and at options are available to speaker. As Rosenthal explains, "Lowell removes the mask. His speaker bject matter, but who are is unequivocally himself, and it is hard not to think of Life Studies as a series of personal confidences,rather shameful, that one is honor-bound ) ways - from redefining not to reveal".4 Granted, one could argue that many poems arc ipso facto Lthorial "f." One strategy "Confessional," but typically the term is confined to characteize the work :ctives all together as we by Robert Lowell, sirecifically Life Studies, Anne Sexton's four volumes, oems. Another strategy is and some of Sylvia Plath's poems including "Daddy, "The Colossus," as subject. The strategy I "Lady Lazarusr" and "'Witch Burning." Many sources will argue that I eration of concept collec- Confessionalism began before Life Studies - which is only logical as no i f these books are worthy i period or poet performs within a vacuum. A few of the significant works :esent different degrees of also regarded as Confessional include Ginsberg's Howl (1955), \7.D. t the same time delivering I Snodgrass'sHeArt's Needle, which was published the same year as Lowell's I 307 NOTI!

their feelings, tl (1,969),and many other ulated Yet studies in '1.9Sg,Berryman's Tbe Dream songs Life in dream visions, imaginer and Theodore Roethke' works by , Delmore Schwaft2, This tidy historY, however shares certain characteristicsthat later would help Each of these works the publication of Life Sta of this genre called confessionalism' These define the porous boundaries before that collection, a v the speakerwith the poet through auto- works invite the reader to conflate tions, and received forms. sometime present an unflat- biographical detail. Furthermore, the works poems' "confessionsr" the speaker implicates him tering portrayal of self and family. Moreover' the referencesto her father br to mental illness' suicidal or herself within the poem's woes by admitting written on how Sexton c' that "my mind's not thoughts, such as with Lowell's famous admission to her, specificallYregardi ..Skunk moves beyond a senseof right,, in Hour." And finally, the poem father. are otherwise and reveals shameful, personal confidencesthat propriety, Some well-known reactio impolitic or impolite' considered are embodied in Langua to Romanticism and present entirelY diffe Confessional poems owe much of their existence who The Prelude' Coleridge's such as , its personal epics that include \Tordsworth's "The Greater Romantic Merrill investigate how I "Dejection Ode," and what M.H. Abrams terms by Keats's odes and and emphasize self-Preser' Lyric,' and "crisis autobiography" as represented a larger shift within Lyn Heiinian, Bruce Andr Shelley's Mont Blanc. All of these works represent existencec Mirror and tlte Lamp,the tion the actual poeric sensibilities.As Abrams establishes rnTbe predecessors and experience are constr poets rejected the more pragmatic poetry of their Romantic is of or solidify Language itself Part poetry whose intent was to teach, unify, persuade, (meaning calls it. I Mirror pits" as Hefinian and emphasizeda more expressivistlyric. In The communal beliefs) that language from an weapon, so Lamp, M.H. Abrams details the criteria of composing and the ties, and commerc ializatio expressivetheorY, which includes: In general, however, the c impulse of internal made external ... operating under the 1. It is "the in mistrust than in moven the combined product of poet's perceptions' feeling, and embodying authorial "I" is dead, but thought, and feelings." no response.To catalog z ..poet,s and subject matter of instance) would be far to Z. The own mind" is the "primary source ply an issue of rhetoric, a Poem." overused is not that catct to express.s 3. The causeof poetry is a desire for the poet authorial "I" that is beinl self, an z on the poet's mind for convey an actual One can readily seehow the Romantics' insistence These are all qur on imagination' the primi- or truth. his material - hence the Romantics' emphasis preface to LYrical Ballaa Lowell, Plath, and sexton' tive, and consequentlythe sublime - influenced some of these ideas is ti Yes, the Romantics artic- The Romantics, however, were not Confessional' 308 ASHEVILLEPOETRY REVIEW

ngs(1.969), and many other ulated their feelings,yet the particulars of those feelings remain shrouded and Theodore Roethke. in dream visions, imagined worlds of Albion, and Aeolian harps.

;tics that later would help This tidy history, however, undercuts the complexity of the situation. After ed Confessionalism.These the publication of Life Studies,Robert Lowell returned to his poetic voice vith the poet through auto- before that collection, a voice marked by elevated diction, heavy allitera- )metime present an unflat- tions, and received forms. \fith Plath, no on can deny that for all of her the speaker implicates him poems' "confessionsr" the poems also do fictionalize as in "Daddy" with referencesto her father being a Nazi and she a And much has been I to mental illness, suicidal Jew. written on how ;sion that "my mind's not Sexton confessedto more than what actually happened to her, specifically regarding the accusationsof sexual molestation by her I moves beyond a senseof father. idences that are otherwise Some well-known reactions against Confessionalism in the 70s and 80s are embodied in Language poetry and New Formalism, two schools ence to Romanticism and who present entirely different antidotes to cure the same woe. Formalists The Prelude, Coleridge's such as Anthony Hecht, John Hollander, Richard Howard, and James ns "The Greater Romantic Merrill investigate how received form could temper the I-gone-amuck nted by Keats's odes and and emphasize self-preservationand effacement. Language poets such as esent a larger shift within Lyn Hejinian, Bruce Andrews, Ron Silliman, and Charles Bernstein ques- t Mirror and the Lamp,the tion the actual existenceof an authorial "I" and investigate how the self oetry of their predecessors and experience are constructs that are part of larger, signifying systems. nify, persuade, or solidify Language itself is part of a constructed system, words being "bottomless :ssivistlyric. InThe Mirror pits" as Hejinian calls it. In turn, language becomesboth the war and the ria of composing from an weapon, so that language is foregrounded to reveal its constructs, duplici- ties, and commerc ialization. ting under the impulse of In general, however, the overuse of the Confessional manifests itself more luct of poet's perceptions, in mistrust than in movements. Some critics have gone so far as to say the authorial "I" is dead, but the smug presenceof the authorial "I" requires no response.To catalog all that has been deemed dead (poetry itself, for .rrce and subject matter of instance) would be far too lengthy and problematic. Perhaps this is sim- ply an issue of rhetoric, for to say the autho rial "I" is problematic and to express.5 overused is not that catchy. But that is more the truth of the matter. The authorial "I" that is being challengedis the authorial "I" that purports to rce on the poet's mind for convey an actual self, an actual experience, and/or an actual transcendence rn imagination, the primi- or truth. These are all qualities that'sfilliam'Wordsworth cultivated in his Lowell, Plath, and Sexton. preface to Lyrical Ballads in 1800 - which is exactly why challenging . Yes, the Romantics artic- some of these ideas is timely. So, the question remains: considering the NOT I!

over-saturation of the authorial "Ir" what are some strategiesa poet can a simple unir, but by inte employ if he/shewants to discusspersonal experiences? post-millennial confession state fail becauseof this net that Trethewey casts . Natasha Trethewey's Natiue Guard, which receivedih. P.tlitrer in 2007, her personal story. The se exemplifies strategiesnow frequently employed in the post-millennial col- objective, and subjecive sr lection - strategiesthat for the most part seek to downplay the authorial 'V/hat also provides "I". Natiue Guard maintains a tight focus around the interlinked subjects intrigu help of Trethewey's bi-racial heritage, her complicated relationship with the * reveal Trethewey's I History of South, her mother's murder, and the experiencesof the Native Guard, Mississippi," a one of the first black regiments in the Civil'War. The emphasison history the six-page title poem is Native within the collection represents a decidedly post-millennial confessional Guard. "O how h strategy that reflects the hyper-linked epoch that we live in. To imagine from this section.9The lon 'War this collection without the added developmental layer of the Civil out to a person divided fr< is to imagine a collection that presents less conflict. Further, the layers self. It is a vowel sound co remind us how one's personal history is a product of our larger history. The impact of this line is , In Trethewey's concept collection, the soldiers of the black regiment must the soldier, once a slave, u grapple with feelings of alienation and exclusion within a community - his thoughts intersecting ar the army - that supposedly embracesthem. In many ways, Trethewey's literal act servesto figurati own childhood a century later mimics that of invited outsider. Through the two-thirds of the book. Ir juxtaposition of diverse subjects within one body of work, readers grasp multi-media experiencesol the connections.Also, close attention to receivedforms such as pantoums, etry as seenwith Brenda Hi , sequences,and blues poems harness what could be private away to supplant figuresw wonderings gone amuck. As one reviewer explains: "By setting the jewel and personal with universa of rage in a formal ring, she suffusesand subsumesit, coloring many of that speak to us and for us , the poems here with pathos."5 Since Trethewey writes about unruly and Undercutting the "I" by m, all-encompassing subjects such as and racism, received 7 ure, memory lapses,or disg forms help counter such vastnessand provide shape. f contrast and range in cont The effect of the multiple topics and forms unites rather than splits her ting the "I" is a senseof , poetry. As explains in his essay, "Levels and Opposites," personal bulletins. ln Natit "It is the easiestthing in the world for the poet to take one subject, to as it is in the other two bc say a few homogenous closely related things about it, and to end with a practitioners such as Ton; beautifully unified poem.'7 Simply put, unity and clarity arc nor enough Seidel.(Keep in mind the b to be effective in a poem. According to Jarrell, it is the dis-unifyizg forces the "I" is present in subtl in the poem that create the necessary tension, surprise, and originality to other than the narrator's. I grab the reader: "The organization of a good poem, so full of strain and at offering conflict without tension, is obtained not merely by intensifying the forces working toward rator's omnipotence: "In tl 3r.0 ASHEVILLEPOETRY REVIEW

some strategiesa poet can a simple unit, but by intensifying the opposing forces as well.'8 In fact, :riences? post-millennial confessionalpoems that fail to rise from their de-politicized state fail becauseof this lack of dis-unifying forces. The wide historical net that Trethewey casts in Natiue Guard nicely works with and against eived the Pulitzer in 2007, her personal story. The sensethat history is layered - both in temporal, in the post-millennial col- objective, and subjectivesenses - provides much of the book's intrigue. to downplay the authorial \Zhat also provides intrigue are the multiple voices - and genres- that rnd the interlinked subjects help reveal Trethewey's family history. "scenes from a Documentary ated relationship with the History of Mississippi," are lyrical interpretations of photographs. Plus, rces of the Native Guard, the six-page title poem is told from the point of view of soldiers in the r. The emphasis on history Native Guard. "O how history intersects- my own" begins one poem ost-millennial confessional from this section.9The long "o" sound of "O" and "own" suggestcalling rat we live in. To imagine 'S7ar out to a person divided from one's community, one's nation - and one's tal layer of the Civil self. It is a vowel sound connected to the howl of a lone wolf in the night. onflict. Further, the layers The impact of this line is augmented by the poem that precedesit where duct of our larger history. the soldier, once a slave, uses a Confederate soldier's journal to write in, of the black regiment must his thoughts intersectingand covering up another man's life. This soldier's rn within a community - literal act servesto figuratively efface first-person persona in n many ways, Trethewey's the the other rited outsider. Through the two-thirds of the book. In a sense,the polyvocalic impulse reflects th\ ,dy of work, readers grasp multi-media experiencesof our time. Perhaps the trend toward docu-po-,> d forms such as pantoums, etry as seenwith Brenda Hillman, C.D. Wright, and Natasha Trethewey, iJ nesswhat could be private a way to supplant figureswith form, subjectiveimage with objective image, ,, i-fn '! ains: "By setting the jewel and personal with universal in an attempt to encompassthe multiple voicesl iumes it, coloring many of that speak to us and for us. y writes about unruly and Undercutting the "I" by means of unreliable narrators, admissionsof fail- ;ion and racism. received ure, memory lapses,or displays of unenviable character traits help provide hape. contrast and range in contemporary poetry. What is gained by undercutl-') ,. rites rather than splits her ting the "I" is a senseof difference from the current babbling brook i/ "f ', "Levels and Oppositesr" personal bulletins. In Natiue Guard, such undercutting is not as prevalent ' )et to take one subject, to as it is in the other fwo books to be discussedor as strong as with other bout it, and to end with a practitioners such as Tony Hoagland, Karyna McGlynn, and Frederick rnd clarity are not enough Seidel.(Keep in mind the book was published in 2006.) Still, undercutting it is the dis-unifying forces the "I" is present in subtle ways as with the decision to bring in voices ;urprise, and originality to other than the narrator's. Also, the poem "Pastoral" is a fascinating study )oem, so full of strain and at offering conflict without any resolution, which servesto muddle the nar- 'We're rhe forces working toward rator's omnipotence: "In the dream, I am with the Fugitive / Poets. 3rr NOTI!

gathered for a photograph. / Behind us, the skyline of Atlanta / hidden by (Admittedly, part of the p the photographer's backdrop."10'What is interesting here are all the differ- at first, akin to a dizzyin ent types of cover-ups: the hazy gauzeof the dream; the backdrop covering elegant, yet understated g urban Atlanta for a pastoral never-existentone; the bulldozers' drone and scrapbook Carson made, its ability to raze the earth; and Trethewey in blackf"... These multiple asheswere scatteredat se concealments remind readers that everything is a presentation, even a that feature a carnival of poet's personal story - and that such storiescan often be a paint-by-num- is plain, with the tape an bers portrait that servesto remove undesired and complicated subtleties. book came to be duplica The poem ends with Trethewey telling the Fugitive Poets: "My father's binding, Carson creates € white ... and rural." The final line is their response: "You don't hate the ongoing nature of grief. A South? they ask. You don't hate it?" No answer is given, leaving readers never ends. I prowl him. I to wonder how the speaker does negotiate love and hate, connection and photographs, a heartbrea. disconnection, self and landscape.There can never be an answer to such before his death (he left , complicated questions,and the poem is right to acknowledge the speaker's from Herodotus, crude pe lack of abilitv to resolve theseconcerns. elegy for his own brother. breaks down the poem w with added poetic phrase "My personal poetry is a failure. I do not want to be a person. I want to be hand side is usually reserv unbearable."ll This quote by Carson succinctly describesthe shape-shift- Not only does the accor( ing, intellectual, yet intimate work of hers. As a poet who suffers from three subjects,the unrelen severestage fright and who has to be prodded to provide a bio longer than of history, but the accordi what could fit on a clothing tag, Carson has created inimitable strategiesin juxtaposition. Carson's u her poetry that allow for personal exploration. At the same time, her work should not read from left often directly addressesthe fallible nature of confessionalisticpoetry. Like myself reading the right-J other poets who seek to enlarge the personal to a universal experience, page where the lexical enr Carson heavily relies on weaving personal subjects with other genres, be on the left added layers t it television or tangos. She especiallydraws upon her expertise in classical For example, Carson descr literature. The focus on classicalliterature centers Vox, which is about the second wife and not his gr death of Carson's brother and consideredher most autobiographical work. an adverb meaning "last In Vox, Carson exchangesthe use of two subjectsfor three: her brother's place." The sensethat thir , i death, Catullus' elegy about his brother, and Hekataios' and Herodotos' speak, is cemented with r discussionson history. She builds tension, depth, and most of all surprise layered coupling is founc by fragmenting her narrative and then reassembling it through what Michael. Shehas not seen Megan O'Rourke describes as "triangulation - or what [Carson] once chastisehim, but attempts i i called 'a third angle of vision."'12 death. She ends by asking The triangulation of subjectsrequires an innovation of form, and Carson dare to ask. She hopes. "1 presentsreaders with a book that looks like no other they have ever read. mail a box for Christmas 312 ASHEVILLEPOETRY REVIEW

line of Atlanta / hidden by (Admittedly, part of the pleasureof reading Carson is being a bit confused ;ting here are all the differ- at first, akin to a dizzyin5, yet sought after carnival ride.) Arriving in an rm; the backdrop covering elegant, yet understated gray box, the book is a facsimile of a homemade the bulldozers' drone and scrapbook Carson made, an "epitaph" she calls it, for her bother whose blackface. These multiple asheswere scatteredat sea.The scrapbook is unlike contemporary albums is a presentation, even a that feature a carnival of smiles and staged moments. No, Carson's book r often be a paint-by-num- is plain, with the tape and ripped edges showing. (The story of how the nd complicated subtleties. book came to be duplicated is an essay unto itself.) Instead of a perfect gitive Poets: "My father's binding, Carson creates an accordion page, a decision that speaks to the onse: "You don't hate the ongoing nature of grief. As Carson writes, "I guessit never ends.A brother :r is given, leaving readers never ends. I prowl him. He does not end."13 Included here are childhood and hate, connection and photographs, a heartbreaking letter from a mother who lost her son long :ver be an answer to such before his death (he left Canada to avoid drug charges in 1978), quotes acknowledgethe speaker's from Herodotus, crude paintings, and perhaps most importantly Catullus' elegy for his own brother. This classicelegy shapesthe collection as Carson breaks down the poem word by word and provides lexical entries (often with added poetic phrases) on the left-hand side of the book. The right- c be a person. I want to be hand side is usually reservedfor the family's and Carson's elegiacscraps. describesthe shape-shift- Not only does the accordion-page suggest the connectivity between her a poet who suffers from three subjects,the unrelenting quality of grief, and the porous boundaries rprovide a bio longer than of history, but the accordion-pagehighlights ones of Carson's great skills: ted inimitable strategiesin juxtaposition. Carson's use of the accordion-page hints that the reader rt the same time, her work should not read from left to right, but play between the pages. I found rfessionalisticpoetry. Like myself reading the right-hand page first and then reading the left-hand to a universal experience, page where the lexical entries tended to reside. Usually, the word defined ects with other genres, be on the left added layers to the information being presented on the right. n her expertise in classical For example, Carson describesher brother's widow, a woman who was his :s Vox, which is about the second wife and not his great love, alongside the Latin word "postremo", rstautobiographical work. an adverb meaning "last of all, lastly; (in a logical sequence)in the last :ts for three: her brother's place." The sensethat this widow was simply the last one standing, so to lekataios' and Herodotos' speak, is cement.a iith the juxtaposition of the adverb. Another richly r, and most of all surprise layered coupling is found alongside the one letter from the mother to :mbling it through what Michael. Shehas not seenher son in "five years four months" and does not - or what [Carson] once chastisehim, but attempts to console him from afar about his great love's death. She ends by asking for the simplest thing - and in fact doesn't even ,tion of form, and Carson dare to ask. She hopes. "I hope I have an address for you where I could other they have ever read. mail a box for Christmas."14 A mother has reduced her expectations of

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seeingher son, holding her son, conversing with her son to this one wish: These moments of insight. an addressto mail a box. Facing this letter is the lexical entry for the word of unknowing. Throughour donarem, meaning, "to present." Carson writes multiple definitions, and remembering and recordinl each one hints at the motives behind her mother's seemingly simple, even can never happen. Shequot pathetic, desire: "to present, endow, reward (with); to provide, to honour; Herodotos, who acknowlec to present grant, give (to); to confer; to grant power (to) ... to condone, far the strangest thing that excuse (faults in); to forgive."ls The mother wants to give a gift so as to history. This asking. For < provide for her destitute son; to show that she still honors him and bears in fact people are satisfied him no ill will; to share an act with him; to keep him - and her memories Readers start to seehow or that hold. For ex' of him - alive. Herein lies the genius of Anne Carsonl somehow, the lex- book they cate the brother's face (I dr ical entries with their impartial, scholarly distance manage to convey the the pictures of him); photo complexity and immensity of the characters' emotions. than figures themselves;ar Juxtaposition allows Carson to imply stories rather than narrate them. poles that slice the sky anc Getting all the facts right, "confessing" if you will, are not the goals here. the slim five or six phone For example, the book never discusseshow her brother died and doesn't his exile. These photograpl need to as a memoir would. Instead, Carson's use of juxtaposition reminds taposed with explicit admi one of how other poets manipulate images., for example, once not to have effectively fia explained that poetry is the "sensation of clarity and sensationof perceiv- Latin) can approximate Ca ing it."l6 In other words, a poem - and the images within the poem - an ak of deep festivity."2o are not about the summation of clarity, but the processof receiving such a room I can never leave, I clarity. By juxtaposing personal material with dictionary entries, old place composed entirely of letters, and a classicalLatin poem, the reader is allowed to experiencethe ified - a syntactical gap sir moments of clarity for him or herself.No pithy conclusions,numbing tran- analyze? Is the "it" grief, s sitions, or explicit editori alizing are necessary.Instead, the reader re-ex- of course, is all of the abor perienceswhat the poet does, which is why we go to poetry. It is about the inclusion of dictionary Technically, we can recreating a moment, a private moment; if not that, then why not read the book. 'We one entry), be it 87 and 1/zi CliffsNoteslT to Shakespeare'ssonnets instead of the ? want quote is the word "nowr" , , to re-experience the moment of insights utith the poets. Poets know one grief provides no exits. , j pitfall to Confessionalismis that retelling without re-experiencingis not a i satisfying experiencein poetry. Therefore, the better poets ask: what will Like the other books disr t 'I strive to re-experience?Carson choosesnot the guns-a-blazingmoments, acknowledges that the sto but the quiet ones where she "swept my porch and bought apples and shares her grief with Ca sat by the window in the evening with the radio on."18 In other words, widow - and does so by she defusesthe sensational experiencesand emphasizesthe interior ones, pasting in their own writinl using juxtaposition and an innovative form to allow readersto experience poem in tea to make it l< moments of insight with her. another voice, too, one thr 3L4 ------

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,th her son to this one wish: These moments of insight, however, are nicely undercut by admissions re lexical entry for the word of unknowing. Throughout the book, Carson alludes to how attempts at :es multiple definitions, and remembering and recording are fascinating, yet futile, for true recording rer's seemingly simple, even can never happen. She quotes from two founders of history, Hekataios and rith); to provide, to honourl Herodotos, who acknowledge the fruitlessnessof such activities: "Now by power (to) ... to condone, far the strangestthing that humans do - [Herodotos] is firm on this - is vants to give a gift so as to history. This asking. For often it produces no clear or helpful account, ) still honors him and bears in fact people are satisfied with the most bizane forms of answering."79 :p him - and her memories Readers start to see how one of tli.rirbir"il foi-to? ii the ""i*.iirrg" Carson; somehow, the lex- book that they hold. For example, Carson choosesphotographs that obfus- (I ance manage to convey the cate the brother's face don't really know what he looks like despite all notions. the pictures of him); photographs that focus on shadows of figures rather than figures themselves;and photographs that are marred by telephone rather than narrate them. poles that slice the sky and people in odd ways - an ironic nod toward will, are not the goals here. the slim five or six phone calls Carson received from her brother during :r brother died and doesn't his exile. These photographs that reveal as much as they conceal are jux- rseof juxtaposition reminds taposed with explicit admissions of failure. For instance, Carson claims rert Hass, for example, once not to have effectively translated the Catullus poem: "no one (even in ry and sensationof perceiv- Latin) can approximate Catullan diction, which at is most sorrowful has images within the poem - an air of deep festivity."2o Carson also readily admits, "In one senseit is e process of receiving such a room I can never leave, perhaps dreadful for that. At the same time, a 'What ith dictionary entries, old place composed entirely of entries."21 is the "it" here that is unmod- s allowed to experiencethe ified - a syntactical gap similar to a Sappho fragment that Carson would conclusions,numbing tran- analyze?Is the "it" grief, solace, translating, the book itself? The answer, Instead, the reader re-ex- of course, is all of the above. The word choice of "entries" also relates to e go to poetry. It is about the inclusion of dictionary "entries" and the ongoing singular pageof this :hat, then why not read the book. Technically, we can't forget that this book has only one page (or 'We of the sonnets? want one entry), be it 87 and 7z inches long. Furthermore, adjacent to the above :he poets. Poets know one quote is the word "nowr" another suggestionthat "it" is ongoing - that grief provides )ut re-experiencingis not a no exits. better poets ask: what will Like the other books discussed here, the inclusion of multiple voices e guns-a-blazing moments, acknowledges that the story told is simply not the poet's story. Carson I :h and bought apples and shares her grief with Catullus, with her mother, with her brother's lio on."18 In other words, widow - and does so by quoting from them in their own words and phasizesthe interior ones, pasting in their own writings when she can. (Carson even soaked Catullus' llow readers to experience poem in tea to make it look more authentic.) The lexical entries offer another voice, too, one that uses a neutral stance of lexicographer. This 3r5 NOTI!

inclusion of voices and ephemera is key becauseit diffuses any senseof suggestsan agreeable, m the grief being a singular grief; instead, her grief is one of many. In an more, the existence of s interview with Publisher's'Weekly, Carson affirms this collective sense:"I period's gender expectati didn't want [Nox] to be about me mainly."22 book with a black and w undergoing a mastectom) one of routine insensitivi Another inventive post-millennial collection is Joseph Harrington's Things would go in for "treatme Come On: An Amneoir.'When I first read the jacket that explains this would awake with one or book's concept, which is a combination of memoir and amnesia reflecting in such a decision and th on the poet's mother's breast cancer and the'Watergate scandal, I have to way into the upper-third admit that I was skeptical. With concerns regarding the over saturation of the disregard for the fen the lyrical "I," this book seemedto be a logical extension of a poet reach- follows this picture: nan ing too far outside of the self to legitimize the self. It became immediately the difficulty of his self-c clear, however, how the post-millennial confessional can best reveal the divine intervention: personal narrative by subverting it. \Tithin the epigraphs, one seesrwo Nixon: It's almosta n arguments for and against confessionalisticpoetry. "The world is every- cameout of this year ' thing that happens to me" by Jean-Michel Espitallier assertsthat personal concerns are one's universe. Yet, directly after this epigraph, and placed Rosemary'Woods:I d, last as if this epigraph has the final say is: "I prefer to say: I know that I Nixon: am a human being, and I know that I have not understood the system" by And then to hi Soren Kierkegaard. Instead of aligning the collection with either epigraph, assault- d"y afterda Harrington aligns the collection with both, resulting in an intellectual yet The juxtapositions do mu emotional reading experience. the connections. In fact, tThe voices within the book create resonating juxtapositions that Hillman discusses in "( -,.rltiple embody the full conflict and contradiction regarding our unsuccessful Contemp otaty Poems." Ir attempts to survive. The traditional definition of polyvocalic refers to the "difficult" poetry by un< use of muldple voices in a work, and this book certainly does include ability to think through e other voices- in fact, directly quotes - from the author's mother, father, crete, metaphysical, figur: medical doctors, and a spate of political figures such as Nixon and his odd everything is."24 Th aides. I would argue, however, that the book not only usesmultiple voices is poignantly displayed tl but multiple types of documents that embody different voices as well. The muddles timelines, empha documents present messages,biases, manipulations of meaning and sense, when he describeslearnin and convey arguments not only in what they present but also in the presen- a speeding ticket around tation of themselves.For example, early in the work is a copy of an index- that.2S Another example sized card that charts all of the mother's sizes down to her ring, glove, conversation between fat and girdle. The card is carefully filled in to help others buy for her and The father says no; the r to help herself buy fabric to make her clothes. The penciled, faint writing pass."26 This conversati<

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'What's rse it diffuses any senseof suggestsan agreeable,meticulous woman who follows the rules. ;rief is one of many. In an more, the existence of such a card succinctly conveys a different time rms this collective sense:"I period's gender expectations. Another striking section arrives early in the book with a black and white detailed drawing of a woman, face covered, undergoing a mastectomy - an operation describedearlier in the book as one of routine insensitivity from the patriarchal medical staff. A woman [oseph Harrington's Things would go in for "treatmentr" and would not know, nor have a say, if she re jacket that explains this would awake with one or two breasts.To imagine a woman having no say noir and amnesia reflecting in such a decision and then to seethe brutality of the cut reaching all the 'latergate scandal, I have to way into the upper-third of the arm is more than upsetting. Furthermore, :ding the over saturation of the disregard for the female experience is underscored by what directly I extension of a poet reach- follows this picture: namely transcriptions of Nixon complaining about self. It became immediately the difficulty of his self-created problem in terms of death, survival, and ssional can best reveal the divine intervention: Leepigraphs, one seestwo Nixon: It's almost a miraclethat I've survivedthis. you know. 'CauseI )etry. "The world is every- cameout of this year '72 terribly tired. tallier assertsthat personal ' this epigraph, and placed Rosemary'$foods:I don't know how you'vesurvived it. rrefer to say: I know that I understood the system" by Nixon: And then to havethis brutal assault,brutal, brutal, brutal, brutal :ction with either epigraph, assault- d^y after day after day after day - no let up.23 ulting in an intellectual yet The juxtapositions do much of the work, allowing for the reader to intuit the connections. In fact, this book reads like the model for what Brenda )nating juxtapositions that Hillman discusses in "Cracks in the Oracle Bone: Teaching Certain egarding our unsuccessful Contemporary Poems." In this lecture, she discusseshow one can approach cf polyvocalic refers to the "difficult" poetry by understanding what "difficult" poetry offers: "an rok certainly does include ability to think through emotion on many levels - literal, abstract, con- he author's mother, f.ather, crete, metaphysical, figurative" and an awarenessof "how particular and 'es such as Nixon and his odd everything is."24 This senseof compressed time and its weaknesses >t only usesmultiple voices is poignantly displayed through the personal testimony of the father who ifferent voices as well. The muddles timelines, eirphasizesthe trivial, and downplays the significant, as ions of meaning and sense, when he describeslearning about his wife's breast cancer. He had received rsentbut also in the presen- a speeding ticket around the same time and ends up talking more about vork is a copy of.an index- that.25 Another example of the excellent use of juxtaposition concerns a ; down to her ring, glove, conversation between father and poet about whether the mother cried. :lp others buy for her and The father says no; the mother would "get frustrated" but that "would The penciled, faint writing p4ss."25 This conversation is then followed by doctor talking about " 3t7 NOTI!

how "in order to keep [family and friends] from falling apart, rhe woman twenty. Another concern r tries to keep her chin up and have a smile plastered on her face."27All of poems within a collectior this is juxtaposed once again against another's doctor's opinion that "the surrounding them. But th, President did not seem to understand the implications of what was going and interconnectivity as r on."28 \7hat follows is more conversation betwe.n ih. father and poet on awate) perhaps too awarc how the mother's two sisters had died of cancer. Finally, the page ends nected to something muc with the mother's once again painfully chilling cheerfulness:"June 20 - sionalistic concept collect Saw Dr. Fleming. All OK. Increasemedication to 3 a day."29 It is exactly that we perceiveand also 1 what is not said between these passagesthat renders such complex and large for any one poem. 'l multiple meanings. as they are "a community .V7hat that echo and respond to is also being omitted in many of these po.-r is the use of first-per- live alone any more than r son to tell a personal story, which is one of the many strategiesused to undercut the authorial "I." Harrington further subverts the authorial "I" through his own admission of fallibility. He does so immediately with the title and early in the collection where the dates of his mother's cancer are Notes intentionally confused to the point of error. Another strategy to undercut t. JonahLehrer, "We, Robots, the "I" is to privilege the reader in making meanittg fundamental - a 2. The term "concept"book, a tenet of Language poetry. Granted, many poems other than the mawk- book, suggestsa shared se ish Hallmark-style or doggerel do not simply give readers meaning, but such as one of the first,The have the reader intuit meaning through layers of particulars: tone, image, L967. Hip-hopartists contir well. Poets,like musicalart specifics,etc. Still, this collection particularly strives to privilege reader as themes,material, and persr participant. The poem "Table. The DesperateMaking of Lists" brilliantly tions allowfor the nextcollt involves the reader in that it quotes what appears to be the read- outside 3. In the essay,"Confessional er's report of this book. In this case,the reader's report, if that is what it fessionalistic"refers to poe is, undercuts the "I" and presentsthe opposing caseto a book structured characteristics. like Harrington's: "The documentary materials ... seem to function only 4. M.L.Rosenthal, Our Lifein as distancing devices, a strategy to escape the overwhelming pathos of 5. M.H.Abrams. Ihe Mirror an the personal story...."30 Yes, the documents may serve to distance writer (Oxford:Oxford University Pr from subject to object, but what's interesting is what the documents add 6. NicholasGilewicz, "Native C by doing so. Tbings Come On and the other books discussed here illus- www.boo ks I ut.com/ poetry/1 trate the multiple options available to poets to pursue personal material through the medium of disunity and its means of juxtaposition, collage, 7. RandallJarrell. "Levels and lssue4 (Winter1996). and subversion. 8. RandallJarrell, "Levels and lssue4 (Winter1996).

\While some post-millennial concept books are exceptional in their exe- 9. NatashaTrethewey, Native cution, such as these that are discussed,others can seem stale after page 10. NatashaTrethewey, Native 318 ---!FF

ASHEVILLEPOETRY REVIEW

m falling apafi) the woman fwenty. Another concern regarding concept collections is that some of the ;tered on her face."27All of poems within a collection may not function as well without the context ; doctor's opinion that "the surrounding them. But that fact speaks more to this epoch of hyper-links lications of what was going and interconnectivity as much as it speaks to poetic technique. 'We are Meenthe father and poet on aware, perhaps too aware, that our worlds are small, blind animais con- rcer. Finally, the page ends nected to something much larger than ourselves. Post-millennial confes- g cheerfulness:"June 20 - sionalistic concept collections seek to encompass the larger connections , to 3 a day."29 It is exactly that we perceiveand also provide an alternative when a subject is much too renders such complex and large for any one poem. The books are not as much collections of poems as they are " a community of poemsr" to borrow a phrase from Jack Spicer, that echo and respond to one another. As Spicer explains, "Poems cannot o.rn, is the use of first-per- live alone anv more than we can."31 :he many strategiesused to r subverts the authorial "I" )es so immediately with the s of his mother's cancer are Notes nother strategy to undercut 1". JonahLehrer, "We, Robots,"The New Yorklimes, January2L,2O!7. meaning - a fundamental 2. The term "concept"book, as opposedto the slishtlymore pejorativeterm "project" ems other than the mawk- book,suggests a sharedsense of historyand purposewith musicalconcept albums give readers meaning, but such as one of the first, The Beatles'sSgt. Pepper'sLonely Heart Club Band in of particulars: tone, image, L967. Hip-hopartists continue to use the conceptalbum in most of their work as well. Poets,like musicalartists, use the conceptalbum as a wayto exploredifferent trives to privilege reader as themes,material, and personasin a sustainedbody of work.Also, concept collec- Making of Lists" brilliantly tions allowfor the nextcollection to be radicallydifferent. lars to be the outside read- 3. In the essay,"Confessional" refers to the specificpoetic movement whereas "con- r's report, if that is what it fessionalistic"refers to poemsthat borrowa few, but not all, of that movement's g case to a book structured characteristics. s ... seemto function only 4. M.L.Rosenthal, Our Lifein Poetry(New York: Persea Books, 1991). e overwhelming pathos of 5. M.H. Abrams, Ihe Mirror and the Lamp: RomanticTheory and the CriticalTradition ray serve to distance writer (Oxford:Oxford University Press, 1953). is what the documents add 6. NicholasGilewicz, "Native Guard by NatashaTretheway." Bookslut. April 2006. books discussedhere illus- www.booksl ut.com/po etry / 2OOG_04_008405. php c pursue personal material s of juxtaposition, collage, 7. RandalfJarrell, "Levels and Opposites:Structures in Poetry,"The GeorgiaReyiew 50, lssue4 (Winter1996).

8. RandallJarrell, "Levels and Opposites:Structures in Poetry,"The GeorgiaReyiew 50, lssue4 (Winter1996).

3 exceptional in their exe- 9. NatashaTrethewey, Native Guard (New York: Mariner Books, 2006). i can seem stale after page 10. NatashaTrethewey, Native Guard (New York: Mariner Books, 2006), 35, lines 1-4.

3t9 NOT I! WilliamPitt Root

11. AnneCarson, "Stanzas, Sexes, and Seductions,"The NewYorker, December 3, TheScent of Milk in tl 2001, p.6.

!2. Megan O'Rourke,"The Unfolding,"The New Yorker,July 12, 2OtO.

13. Anne Carson,Nox (NewYork: New DirectionsBooks, 2O1O) sec. 7.1. " Mexico, blossoming ana

14. Anne Carson,Nox (NewYork: New DirectionsBooks, 2OLO) sec. 4.1.

15. AnneCarson, Nox (NewYork: New DirectionsBooks, 2OLO) sec. 4.1. 1,. 16. Robert Hass,fwentieth Century Pleasures;Prose on Poetry(New York: HarperCollins, p9.285. 1984) Always such a problem, t 17. The preferredspelling of CliffsNotes. as when these citizen 18. Anne Carson,Nox (NewYork: New DirectionsBooks, 2OLO) sec. 6.1. after decadesof

1-9.Anne Carson,Nox (NewYork: New DirectionsBooks, 2010) sec. 3.1. on their appreciating plot 20. Anne Carson,Nox (NewYork: New DirectionsBooks, 2010) sec. 7.1. were evicted by local 21. AnneCarson, Nox (NewYork: New DirectionsBooks, 2OLO) sec. 7.1. who expected fr 22. CraigMorgan Tiecher, "A ClassicalPoet, Redux: PW ProfilesAnne Carson," Publisher'sWeekly, March 29, 2OLO. just a spadeful of meek dr 23. JosephHarrington, Things Come On: An Amneoir(Middletown: Wesleyan University a pair of curled shoer Press,2OLt) pg.L4. no one would pr 24. BrendaHillman, "Cracks in the OracleBone: Teaching Certain Contemporary Poems,", 2Q06, Instead each pried lid www.poetryfoundation.o rgl learning/poeticsprint.htm l?id=2397 62 groaning wide and si 25. JosephHarrington, Things Come On: An Amneoir(Middletown: Wesleyan University opened on an in Press,2OLL)p9.6.

26. JosephHarrington, Things Come On: An Amneoir(Middletown: Wesleyan University unspeakably human - Press,2OLt) p9.26. ghoulish faces 27. JosephHarrington, Things Come On: An Amneoir(Middletown: Wesleyan University dressedin howls Press,2O1-l) p9.26.

28. JosephHarrington, Things Come On:An Amneoir(Middletown: Wesleyan University limbs still clothed and crc Press,zOtL) p9.26. in funereal repose. O 29. JosephHarrington, Things Come On: An Amneoir(Middletown: Wesleyan University and old women Press,2OLI) p9.26.

30. JosephHarrington, Things Come On: An Amneoir(Middletown: Wesleyan University in their decomposing best Press,2OLI)p9.19. but here lay faded in 31. Jack Spicer,My VocabularyDid This to Me: The CollectedPoetry of Jack Spicer, Eds. clutching dusty r PeterGizzi and KevinKillian, (Middletown: Wesleyan University Press) 2008. and young men whose sta still strain against thr from firing squa

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