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It’s surprising, uncanny work that is utterly distinct in voice and vision.
In an elegant formulation: “It is the edge separating my tongue from the taste for which it longs that teaches me what an edge is.” In a more blunt formulation: “Words do have edges.
So do you.”Carson is aware of the unsettling nature of her approach to classical literature and how the poetic freedom she allows herself might make other scholars suspicious of her work.
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This is a deeply weird book, one of two books of literary theory that have made me sob (the other is Maggie Nelson’s is scholarship that reads like poetry.
The bittersweetness of eros, according to Carson, arises from the impossibility of its true fulfillment, which is analogous to the unending human desire for knowledge.
This collection includes “The Glass Essay,” a powerful poem about the end of a love affair, told in the context of Carson’s reading of the Brontë sisters, “Book of Isaiah,” which evokes the deeply primitive feel of ancient Judaism, and “The Fall of Rome,” about her trip to “find” Rome and her struggle to overcome feelings of terrible alienation there.
Anne Carson and I first met in 1988 at a writers’ workshop in Canada, and have been reading each other’s work ever since.
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.