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One of my favorite of her books is called (inscrutable subtitle: “a fictional essay in 29 tangos”), which traces the marriage of a woman paralyzed with desire for her feckless but deeply beautiful husband.
Somehow, it’s also a study of Keats’s famous (inscrutable) line “.” (Again, I am utterly failing to describe this book with any fidelity.) Eros is definitely bittersweet here.
She works most with the parts of life that make no sense and do not help you, only somehow she transforms them into poetry that both fulfills and deranges what you think poems should do.
Her poetry books sometimes have essays in them; her books of classical scholarship sometimes have lyric passages that rival anything filed under “poetry.” is an accordion-folded reproduction of a scrapbook she made as an elegy to her brother; it contains, among other things, a facsimile of a handwritten letter, torn and rearranged into a collage, alongside a translation of Catullus 101.
But that’s what’s so vital about it, to this contemporary reader: she’s not simply concerned with tracking how things I have cast my net rather wide and have mingled evidence from different periods of time and different forms of cultural expression–in a way that reviewers of my work like to dismiss as ethnographic naïveté.
I think there is a place for naïveté in ethnography, at the very least as an irritant., the monster he must defeat. Rather than slaying Geryon, Herakles uses him up: he has a love affair with him and then leaves him.
Anne Carson’s poetry––characterized by various reviewers as “short talks,” “essays,” or “verse narratives”––combines the confessional and the critical in a voice all her own.
Known as a remarkable classicist, Anne Carson in weaves contemporary and ancient poetic strands with stunning style.
She does not elide her own abject response: she knows this is humiliating, but she also knows that desire This self-awareness, this ability to both create a fully emotionally realized poetic situation and still see it from the outside, is one of Carson’s greatest talents.
Like her “naïveté” and anachronisms, this self-scrutiny allows her to write movingly about what might otherwise seem done to death–after all, didn’t Sappho pretty much nail “eros the bittersweet” a few thousand years ago? We carry all these experiences with us even when they feel cliche or mediated through patriarchy or just a wobbly echo of something someone else, probably a Brontë, said better hundreds of years before we were born.