Essay the glass menageriemichael had run away from home in 1978, and he and anne had spoken a half-dozen times in all the years since. there's a lot of discussion about religion, the fall of rome, as well and towards the end she has a short essay titled the gender of sound which discusses the way people feel when they hear a woman speak versus a man. “prowling the meanings of a word, prowling the history of a person, no use expecting a flood of light,” carson writes. "the glass essay" and "the gender of sound" are the only two essays/poems worth reading, imho, and i'm not as crazy about the former as everyone else seems to be.” for a poem sparked by a break-up, with the heart-slinging, fate-slapping wuthering heights as ur-text, the tone of the glass essay is thrillingly, devastatingly, deadpan. there, where “the april light is clear as an alarm,” where “the bare blue trees and bleached wooden sky” carve into her “with knives of light,” carson’s speaker gets down to the work of trying to understand what has happened to her. (to achieve the yellowing effect, carson soaked her typescript of the poem overnight in tea. elsewhere we find illustrative phrases that pretend to explain a word but really speak of carson’s brother: “he lets in night at the eyes and the heart” or “made sadder by the brother’s night than by the brother himself. as always, carson is able to sustain multiple narratives within the same poetic work; the story of narrator-mother, of narrator-law, of thou-thou, of charlotte and emily bronte, of narrator-emily--these talk back and forth as if they are all happening at once. in the haze of my formative reading, this book was lost in the shuffle among all the other carson books. carson blends themes and characters and areas of interest i find fascinating, but if the classics and the brontes aren't really your thing, know you might need to have a bit more patience here with the poetry. when herodotus was recounting a story he didn’t fully believe, carson notes, he wound up “with a remark like this: so much for what is said by the egyptians.”) her autobiographical writing is always offset by some other story; one of her best-known works, “the glass essay,” which appeared in 1995, is narrated by a woman who, devastated by the end of a relationship, goes home to see her mother, and reflects both on her ex-lover and on emily brontë’s poems; her interest in brontë’s severity comes to bear on her understanding of her own heartbreak. next year, random house will publish decreation—the eponymously titled opera—alongside new poems and essays. the 1970s carson studied classics at the university of toronto and then ancient greek with the renowned classical scholar kenneth dover at the university of st. instead of imposing baroque form on the material, carson lets michael haunt the work, writing into its lacunae, through the eeriness of his handwriting, of the airmail stamps he used.
Paris Review - Anne Carson, The Art of Poetry No. 88’s an interesting question, whether carson is an emotional writer or not. carson’s singular gift for resuscitating the ancient theme of desire is complicated by a postmodern habit of pastiche and fragmentation. what carson says about her subject is, well, just read the thing and find out for yourself.. ik zal niet doen alsof ik begrijp wat anne carson allemaal zegt en ziet en denkt.” elegy and history are akin, carson notes, and she invokes herodotus, the father of history, as her guide.“the glass essay” is, roughly, the story of the aftermath of a breakup between the narrator and her partner law, after which she goes back home to spend time with her mother (her father is in an elder care home). anne carson always remains fresh, sharp and although her patterns of writing become more exposed with each book one reads, her style is chameleonic thanks to her ability to stave off the caricature-able nature that other writers find themselves in after such a prolific and well received career. her books include antigonick, nox, decreation, the beauty of the husband: a fictional essay in 29 tangos, winner of the t. o anne you wound me) actually, is book of isaiah, which utterly slays ("new pain!” it’s one reason why i return to “the jerboa”—and marianne moore—so frequently: to see how my own definition of art continues to change, and to test it against moore’s own bracing examinations. so all the god stuff in this book didn't do much for me (and that includes carson's frequent mention of soul etc.—but at a certain point he feels a lack,” carson has written. if anything, i find that carson sometimes runs the risk of being histrionic (something that i have less of a problem with than many people, since i go for the visceral), but usually she turns this to her advantage.’m compiling a short list of poets to read next year and have put anne carson on the list. so we bounce between anne's reflections on her dead relationship; her current stunted relationship with her mom, the landscape of the moors, and her senile father; and her (and others) relations to and reflections on the unknowable emily. so all the god stuff in this book didn't do much for me (and that includes carson's frequent mention of soul etc.
there's a lot of discussion about religion, the fall of rome, as well and towards the end she has a short essay titled the gender of sound which discusses the w. in 2002 carson became the first woman to receive england’s t. anyway, i like that dissonance or rawness between carson’s seeming intellectualism and the emotion in her work. 'the gender of sound' & 'the book of isaiah' & possibly more) because that was what the library had and apparently the full collection is better but 2) (sacrilege) i think i prefer reading anne carson in small doses and i think a lot of it would be better enjoyed with a cursory knowledge of the things anne carson enjoys and references in the poems here, like i can appreciate the fine scale aspects of the work but not necessarily. an interesting look into the gendered politicization of sound, this final essay leaves the reader to think about him/herself and why s/he does what s/he does and thinks the way s/he thinks. carson is a canadian poet, essayist, translator and professor of classics. carson lived in montreal for several years and taught at mcgill university, the university of michigan, and at princeton university from 1980-1987. carson, whose quite faithful rendering this is, wants to memorialize the dead, but she also wonders why she does—why we feel the need, as catullus says, to speak to silent ashes, to assemble trivial remnants of a lost presence. i'm sad that charlotte acted to keep anne from readers. so when carson shapes something new, it carries in its new sprigs the massive weight of western thought. the big secret of glass, irony and god, (only negative of anne carson: she doesn't use oxford commas?, i can’t believe that anyone would think carson unemotional; it’s as though the mere presence of intellectual content tags someone as cold or cerebral (particularly if it is a female writer). read wuthering heights in order to re-read the glass essay. 2000, anne carson’s older brother michael died unexpectedly in copenhagen. she (carson) brings along the complete works of emily bronte. ik weet niet of dat wel de bedoeling is, van poëzie, van carsons poëzie.
as a remarkable classicist, anne carson weaves contemporary and ancient poetic strands with stunning style in glass, irony and god. sometimes i get the feeling that particular cultural references could almost be interchangeable because carson has fixed on an emotion and is going to wrangle whatever material she touches into that shape regardless.“the glass essay” was far and away my favorite poem in the collection, though the others were mostly good as well. as an alarm: 675 words on anne carson’s the glass essay.” somewhere along the way, he began dealing drugs and he ran away to avoid going to jail, after staying with carson a few days (and leaving cigarette butts everywhere, even in the frying pan, “sunny side up”). for example, “the glass essay” began with staring at a frozen ditch near my mother’s house, which i think actually occurs in the poem somewhere.”nobody discusses god(s) like anne carson - brilliant, raw, and overflowing with intelligence. i cannot properly explain my thoughts about this book but anne carson is seriously one of my favorite writers of all time with the way she tackles form and greek mythology and makes the reader think more outside the box."the glass essay" is the five-star moment of this collection. but when i wrote “the glass essay,” i also wanted to do something that i would call understanding what life feels like, and i don’t believe i did. carson and i first met in 1988 at a writers’ workshop in canada, and have been reading each other’s work ever since.“the glass essay” by anne carson the first poem in anne carson’s glass, irony & god is called “the glass essay,” and if you’re anything like me, the title might seem odd.’ll definitely make sure to get to the “real” essay. other note…this particular poem reminded me a bit of anne stevenson, who ought to be better known. nox is also the roman goddess of night—perhaps the oldest of the roman deities, the mother, by many accounts, of sleep, fate, and death—and in carson’s elegy night becomes a kind of elusive character, with whom the mourner repeatedly attempts to engage. in many of her strongest pieces, such as “just for the thrill: an essay on the differences between women and men” (a series of prose fragments which appeared in “plainwater”), her speakers appear to be preoccupied by the troubling proximity between what they experience as the annihilating transport of sex and the visionary transport of the sublime.