Yet despite the book containing a deal of absurd action, it is hard to categorise Red Doc> as a work in which much really happens. The relationships between characters old and new do not go much beyond a surface gloss. Only the late appearance of G’s mother reveals a relationship that remains fraught. From the opening pages of Autobiography of Red to the close of Red Doc>, the relationship between mother and son retains the frisson that seeps from the erotic relationships Carson portrays. The weird tension the poet captures between stasis and action, past and present, is the book’s achievement. Any kind of plot summary would be beside the point.
What emerges instead is the story of a different kind of passion. G and Sad make a brief attempt to rekindle their sexual relationship, but as Sad notes when their fumbles fizzle out, there is ‘not enough / juice for the squeeze’. In Autobiography of Red, their passion brought them literally to the volcanic brink; their reunion here is not as lovers, but as a pair linked by their shared past. This shared past remains distant, however, and when Carson takes the reader back to Autobiography of Red what rings out is almost a sense of futility:
Anne Carson is among that small number of contemporary writers who have achieved the unthinkable: she has produced poetry that has made the bestseller lists. Since the success of Autobiography of Red (1998), all of her books have sold big – and so has her back catalogue, including her scholarly works Eros the Bittersweet (1986) and Economy of the Unlost (1999). Eros the Bittersweet, her idiosyncratic study of the ancient Greek poet Sappho, even made an appearance in the pilot episode of the television show The L Word, in which one character proclaimed to another, ‘That book practically changed my life’. Not quite as mainstream as Robert Pinsky’s appearance on The Simpsons, perhaps, but the name-checking of a contemporary poet on the small screen was a significant moment in pop culture nonetheless.
most favorite thing about this book is the glass essay which discusses emily dickinson, a daughter and mother, etc. 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. by marking “glass, irony and god” as want to read:Error rating book. o anne you wound me) actually, is book of isaiah, which utterly slays ("new pain! 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. but anyway i'll just be here crying at how good anne carson is at playing on the ways words can swing into different meanings (nation, in this part of the poem, and also save) and the way these words' ambiguity/multiplicity of meaning result in a sort of essential meaninglessness/lack of understanding similar to the absurdity of trying to understand god. 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.
Now, over a decade since Autobiography of Red caused a sensation, Carson has returned to the characters from her most popular verse narrative. Red Doc> is offered as a sequel that ‘continues their adventures in a very different style and with changed names’. With these words Carson declares her lack of interest in standing still. Red Doc> displays some of the recognisable traits that pervade her work, but in its pages the central characters of Autobiography of Red are transformed from their mythic identities as Geryon and Herakles into G and Sad (full name: Sad But Great). With this renaming – arguably a dwindling – Carson’s protagonists move out of the heroic mode and carry with them a sense of disappointment.
Contemporary, minority writers are not the only ones to be singled out for challenging. Even fairy tales are not exempt, as Little Red Riding Hood was banned by two California schools because the heroine carried a bottle of wine in her basket, said to condone alcohol. Huckleberry Finn has been challenged for objectionable language and racist terms and content in multiple states across the country. Dickens' Oliver Twist has also been challenged based on parents protests that the book violated a child’s right to an education free of religious bias (Lancto, 2003).
Red Doc> offers a development in Carson’s work, but it is not necessarily a development that lovers of Autobiography of Red will relish. It creates a curious and at times compelling world, but one that may also exasperate the reader as its narrative veers from one scene into the next. Though the earlier work had its own literary filters – there, the ancient Greek poet Stesichorus and the arch-Modernist Gertrude Stein played the role of literary interlocutors – its tone was more consistent. Autobiography of Red gave us the arrowhead wound of a wild passion gained and lost; Red Doc> never quite captures the same sense of urgency. The closest it comes to urgency is when G reflects upon his past, a story the reader has already largely encountered, and when he is forced to confront his familial ties. While his faded relationship with Sad is a significant loss, the patina of that loss resembles the melancholy of aged, yellowing varnish. (In comparison, his relationship with his mother, who in taking him to school each day in the earlier work ‘neatened his little red wings and pushed him / In through the door’, retains its sting.) As such, Red Doc> will no doubt disappoint many who were impressed by the portrayal of love between a monster and a hero in Autobiography of Red.
” 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.. i love carson, i think she's a genius, and i think this is a pretty weak book."a really great collection of poetry and essay, crowned with 'the glass essay': a meditation on lost love, mortality, and emily bronte's., irony and god is a series of poems (i'm tempted to call them "narrative poems" because of the potent sensations of scene, character, and movement) and one essay (the inclusion of which almost knocked it down a star for me, until i began thinking on the overall themes) about the soul under pressure. 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. i'm not qualified to answer the question, but anne carson may be the great poet of my personal, reading lifetime so far, at least. her books include antigonick, nox, decreation, the beauty of the husband: a fictional essay in 29 tangos, winner of the t.
she has published eighteen books as of 2013, all of which blend the forms of poetry, essay, prose, criticism, translation, dramatic dialogue, fiction, and non-fiction. i get this guy's point, anne carson's poetry is western culture taken apart and put back together again, but it's annoyingly facile. as a remarkable classicist, anne carson weaves contemporary and ancient poetic strands with stunning style in glass, irony and god. as an alarm: 675 words on anne carson’s the glass essay. read wuthering heights in order to re-read the glass essay. the essay at the end, "the gender of sound" provides clues for you to unravel when reading plainwater, which would be a smart next step. 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," a poem evoking 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 a terrible alienation there.
Glass, Irony and God (New Directions Paperbook): Anne Carson ,” 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. a plain vernacular dante would approve of, charles martin writes of the towers “burning”:Together, like a secret brought to light,Like something we’d imagined but not known,The intersection of such speed, such height—.) that says, following an arrow drawn from anne carson's name, "she is a very bookish poet. 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. of note is her ability to move--fluidly or jarringly--between lyric and narrative moments in this essay. carson's poem "book of isaiah" is great in its fear and dependency and resonates as a gender-bending hellish relationship based in power (god's and isaiah's), responsibility (isaiah's), and the fear of abandonment (god's). most favorite thing about this book is the glass essay which discusses emily dickinson, a daughter and mother, etc.