Anne Carson Glass Essay

Anne Carson Glass Essay-32
All through the Old Testament a voice, which is not the voice of God but which knows what is on God’s mind, is crying out. In 1995, New York publisher New Directions—which backed the careers of some of the twentieth century’s legendary writers, including Dylan Thomas and F. The book’s genius lay in Carson’s decision to stop dividing her voice between her day job and her lyric moonlighting.The poetry was a bookish breakthrough: a college syllabus come to life.

All through the Old Testament a voice, which is not the voice of God but which knows what is on God’s mind, is crying out. In 1995, New York publisher New Directions—which backed the careers of some of the twentieth century’s legendary writers, including Dylan Thomas and F. The book’s genius lay in Carson’s decision to stop dividing her voice between her day job and her lyric moonlighting.The poetry was a bookish breakthrough: a college syllabus come to life.One would have simply whispered to the other, “Lay your sleeping head, my love, / Human on my faithless arm.” Auden wasn’t celebrated because he changed lives, but because he wrote lines that were memorized and shared.

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Her fame coincided with poetry’s extinction in the wild. Poetry retreated into fine-arts programs and comparative-literature departments: it now survives only in captivity. Two hundred years ago, in his preface to the , William Wordsworth wrote that poetry should cleave “near to the language of men.” Wordsworth’s own verse hums with the mental energy of the ordinary readers who inspired him.

Gone was the general readership that Robert Frost, W. In a weird way, Carson may be just as representative of our own time and of her main readers: arts and humanities graduates with more student debt than talent.

Carson now produces “texts”—genre-less, amorphous pieces of writing.

Her abstruse, down-tuned music is the soundtrack to poetry’s institutionalized life in the twenty-first century.

“No one who has been in love disputes her.”Six years later, .

The book ends with “Short Talk on Who You Are”: People talk about a voice calling in the wilderness. Carson’s answer to that question would make her a literary cult figure.

She was, by then, the coolest professor on earth—too cool, even, for a traditional bio. In (2001) is subtitled “A Fictional Essay in 29 Tangos.” How many genres can you mix before your inventiveness waters itself down? The cross-pollination that had made her writing popular was now running to seed.

“Anne Carson was born in Canada and teaches Ancient Greek for a living” is all she was prepared to print about herself. Carson began pursuing increasingly bizarre gambits. Even the physical format of her collections reflected the chaos within.

After a poem about God and Isaiah squabbling, there’s an essay exploring “the gender of sound”—with discussions of Gertrude Stein and Ernest Hemingway—in which she quotes Aristophanes: “Among the young men the ones who turn out to be terrific talkers are the ones who get fucked a lot.” In effect, Carson created a new way of talking about old ideas.

Even the cover hinted at something big: a painting—by the poet—of a volcano erupting. By 1995, Carson had made her way over to Random House and published a series of successful, uncategorizable books, penetrating mainstream culture in a way no poet had since Ireland’s Seamus Heaney.

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