Glass, Irony, & God (Anglais) Broché – 18 septembre 1996
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Revue de presse
"Anne Carson's poems are like notes made in their pristine urgency, as fresh and bright as a series of sudden remarks... A real poet whose poems are unfailingly memorable... [whose] powers of invention are apparently infinite" (Guy Davenport)
"Anne Carson is a new and brilliant talent making her English debut with this volume" (Peter Porter)
"She is a rare talent - brilliant and full of wit, passionate and also deeply moving. Her long poem 'The Glass Essay' is oen of the best of our time" (Michael Ondaatje) --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Présentation de l'éditeur
Blending the modern and the classical, Anne Carson writes with an intensity and an integrity that is transfiguring. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
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In "The Glass Essay" grief over a lost relationship, the relationship between the Bronte sisters, the relationship between mother-daughter, and the writings of Emily Bronte are explored in a seamless manner.
"The Truth About God" is a search for the meaning of God in our era. The opening stanza sets the tone for the exploration: "My religion makes no sense / and does not help me / therefore I pursue it." It draws from Beethoven's life, from Teresa of Avila, from the apophatic theology ...
"TV men" mixes Greek heroes and Gods with filming - meet Hector and Socrates in a new environment. "The Fall of Rome: A Traveller's Guide" explores personal relationships (or lack thereof) when language becomes a barrier not a bridge. "Book of Isaiah" explores the mindset behind the Biblical text of Isaiah.
The strength of this book is that the vast knowledge behind the writing is made accessible to the reader rather than being required of the reader. This is a book that makes the reader want to read more of the author's work.
Aside from grammatical and linguistic devices, though, another successful experiment is Carson's capacity for engaging in biography and autobiography simultaneously in "The Glass Essay," as Emily Bronte's life becomes a mirror for the speaker's own predicament and contributes an additional layer of complexity and pathos.
Where Emily Dickinson uses dashes to reveal the full power of a particular word or line, Carson resorts to an unusual frequency of periods, creating abrupt shifts of focus that help the poem encompass as much subject as possible within just a few sparse lines. In "The Glass Essay," she resorts to this device immediately and often:
She lives on a moor in the north.
She lives alone.
Spring opens like a blade there.
Already, in just three short lines of the 38-page poem's fourth stanza, we encounter loneliness, landscape and season, distinctly echoing past triumphs such as "The Life of Towns," as in "Town of Spring Once Again," for instance:
Rain hissed down the windows.
Longings from a great distance.
Despite the periods, the enjambment of these lines is obvious, and more startling. Drops of rain become "longings from a great distance" but, at the same time, the origin of these "longings" remains mysterious. From where are they "reaching" the speaker? The reader is left to imagine and savor.
It is in Carson's skill for weaving Emily Bronte's persona together with the speaker's, however, that "The Glass Essay's" abundant despair becomes most compelling. Like Bronte, whose storied alienation and seclusion comprise much of the poem's focus, the speaker identifies deeply with the moor's landscape. "My lonely life around me like a moor," she says, going on to describe the moor as "paralyzed with ice" in a moment of pathetic fallacy.
Similarly, just as Bronte is described as a "soul trapped in glass" and a "wacher" who "wached the poor core of the world," the speaker becomes just as imprisoned and secluded, obsessively noting the minutest observations as she gazes into "the curtainless morning" like someone under a life sentence. By poem's end, though, the speaker emerges from the malaise that Bronte only escapes through death. "I gave up watching," the speaker confesses, "I lived my life." Finally, in the speaker's own inability to endure the intense loneliness under which Bronte lived (and died), Emily Bronte's own life struggle becomes that much more palpable.
By Anne Carson
In the beginning there were days set aside for various tasks.
On the day He was to create justice
God got involved in making a dragonfly
and lost track of time.
It was about two inches long
with turquoise dots all down its back like Lauren Bacall.
God watched it bend its tiny wire elbows
as it set about cleaning the transparent case of its head.
The eye globes mounted on the case
rotated this way and that
as it polished every angle.
Inside the case
which was glassy black like the windows of a downtown bank
God could see the machinery humming
and He watched the hum
travel all the way down turquoise dots to the end of the tail
and breathe off as light.
Its black wings vibrated in and out.
From: "Glass, Irony and God" page 49