Carson, disconcerted by curricular constraints particularly by a required course on Miltonretired to the world of graphic arts for a short time. She frequently references, modernizes, and translates Ancient Greek literature. She has published twenty books as ofmost of which blend the forms of poetry, essay, prose, criticism, translation, dramatic dialogue, fiction, and non-fiction.
Buy Decreation at the Guardian bookshop Anne Carson emerged as a major international figure with Autobiography of Red, a Homer-inflected coming-of-age story, and The Beauty of the Husband, whose narrative of sexual betrayal and jealousy in virtuoso "tangos" by turns seduced and shocked conservative British poetry audiences.
Carson is also a professor of classics at the University of Michigan, whose work includes If Not, Winter, a version of Sappho. Now we have Decreation, which the accompanying press release describes as "a hybrid of poetry, essay, libretto, screenplay, oratorio and illustration"; and the title-page, more modestly but more encouragingly, as "Poetry, Essays, Opera" though surely opera involves music?
Whatever it may be, Decreation outlines one of the most idiosyncratic intelligences at work in contemporary literature. What fascinates Carson is above all the human, "the ancient struggle of breath against death" "No Port Now".
Decreation opens with "Stops", a sequence exploring filial love where loving is something done, rather than the idea of a relation. That doing is perhaps ambivalent; certainly infused with the paradox of being at once quotidian and profound: The poem is named for its own "Lines", the ends of which are weighted with key words - "Out", "love", "faster", "want".
As the lines of poetry and of snow "speed us up", the mother coming to the end of life will not detain her daughter long. A later series, "Sublimes", conflates the human with what is commonly thought of as abstraction. Here, despite references to Longinus and Antonioni, Carson creates not so much a palimpsest as a kind of cultural telescoping, which cuts to the heart of the problem of human longing.
Flowers sigh and two noon bees float backwards. This is a beautiful portrait of the way thought moves out into the world as affect. Elsewhere in the series, desire for transcendence is emotional and so of a piece with other human longings, such as nostalgia - "Spring Break" recollects a coming of age which itself looked backward with regret - understanding and desire: The richly figured "Sublimes" spring from a preceding "Essay with Rhapsody" exploring "the passionate moment, different ways of spilling its contents".
Indeed, around one-third of this substantial volume is prose. In "Every Exit is an Entrance", Carson uses her virtuoso reading of surprisingly numerous sleep passages in the Odyssey to suggest that sleep itself may be a form of psychodrama. Even the clear marks seem to be trying to go away.
What all this furnishes, though, is not mere cultural impressionism but an interplay of ideas which informs the whole book. These judgements sanctify our own survival. That is, they know love is the touchstone of a true or a false spirituality. They exhibit a certain staginess; like many accomplished theoreticians, Carson is adept at flourishing conclusions as if they were both sleight of hand and there all along.
But there is something both more complex and more poetic than a game of theory going on here.
These pieces show rather than tell; what seems staged is, rather, suspended, eschewing argumentation and logical accumulation.
She is in fact writing essays under the discipline of poetics; an extraordinary project which both subverts the humdrum of lit crit and questions the role and limits of poetry itself.
Is verse a fluent container of ideas? If so, what distinguishes it from prose? Most of all, though, this is inimitable poetry. Where Carson relaxes her urgent disciplines, as in a "screenplay" on Heloise and Abelard, dialogue effortlessly characterises human behaviour - in all its gracelessness and joy.
Effortless, too, is her ability to give descriptions of the concrete world existential leverage. Throughout the book, Carson makes control and surrender both her topic and her practice, producing a deep lyricism almost prior to the images it throws up, that "swarm of clearnesses and do they amaze you".
They do amaze, in a volume which challenges the range of poetic possibility.Decreation: Poetry, Essays, Opera by Anne Carson. October 4th, Title: Decreation: Poetry, And in part three of the essay, Carson considers the work of Simone Weil, who also “wanted to get herself out of the way in order to arrive at God.” Certainly this is true of Carson’s own writing; while Carson gives us just one personal.
Anne Carson's new collection, Decreation, challenges the boundaries of poetic form, says Fiona Sampson Fiona Sampson. The title piece is an essay on three women writers, revisited in a. A life in writing: Anne Carson's poems might be wilfully obscure and difficult, but their compelling storytelling quality has earned her both critical and commercial success.
Decreation by Anne Carson.
claim to be intent on annihilating this self while still continuing to write and give voice to writing must involve the writer in some important acts of subterfuge or benjaminpohle.comtion is another eclectic collection of poetry, essay, and music from the ever idiosyncratic Anne Carson.
and it's really. Get fast, free shipping with Amazon PrimeFast Shipping · Deals of the Day · Shop Our Huge Selection · Explore Amazon Devices. Anne Carson This is an essay about three women and will have three parts. Part One concerns Sappho, a Greek poet of the seventh century B.C., who lived on the island of Lesbos, wrote some famous poetry about love and is said to have organized her life around worship of the God Aphrodite.