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Epoet Ryreview 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 Robert Lowell, 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|, A _-r-F-- ASHEVILLEPOETRY REVIEW 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 Elizabeth Bishop, 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 AnthonY Hecht, 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.
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