Anthony Domestico is an assistant professor of literature at Purchase College, SUNY.
By this author
Danielle Chapman is a poet sensitive to life's intensities. Her new collection, Delinquent Palaces, regularly charts the fierceness of sensory experience, how the world, in its overabundance and strangeness, can strike us like revelation, as when she describes a "wad of gum" being dropped into a glass of ginger ale: "Bubbles rose like souls / unburdening from selves, bearing tiny spheres / of bliss that broke upon the surface / like sleepers to the touch of consciousness."
Literary biography is perhaps the hardest genre to get right. Though spending lots of time in the archive is necessary, it isn’t sufficient. You need to turn this research—the lunch receipts and discarded drafts and report cards and love letters—into a compelling narrative; you need to present not just a sequence of events but a life, with its recurring motifs and central dramas, its rising action and sudden reversals. Likewise, though citing from the work is crucial, it’s not enough. You need to be a critic, able to tell us how the poems or novels or plays work, how they fit into the broader fields of literary and social history.
Finally, and most importantly, you need to have a theory of how the life and the work relate to one another. You can’t reduce the work to the life, but you have to show how the life informs the work. You can’t claim that biography explains any given poem or novel, but you have to show how the alchemical transformation happens.
There are so many ways to screw things up, and the list of those literary biographers who have screwed things up is long and venerable.
This Sunday, the Guardian published a fascinating profile of the New Yorker's James Wood. In it, we learn that:
My next column for the magazine features a review of Claudia Rankine's Citizen: An American Lyric, so I'll keep my proselytizing short here. Rankine has written several strong collections before, but Citizen (2014) is of an entirely different dimension, especially in terms of formal originality. The book blends poetry, prose, and visual art, all in an attempt to show how race continues to shape and deform the American experiment.
In honor of National Poetry Month, I'm going to be offering weekly recommendations of contemporary poets worth reading. Today, I'll start things off with Nate Klug, a young poet whose new collection, Anyone, has just been published by the University of Chicago Press.
In his Adagia, Wallace Stevens writes that "the poet feels abundantly the poetry of everything." To the poetic imagination, the world isn't described through poetry; it is poetry, at least when the world is seen most clearly and truthfully. Klug's work offers exactly this kind of reorienting of perspective, showing us the world in all of its particularity and with all of its resonances.
Klug, who has a Masters from Yale Divinity School and is a Congregationalist minister, has said that he only believes in God when he is writing, and his poems continually examine the relation between vision and writing, sensory perception and divine revelation. Take, for example, his poem entitled "Milton's God." (This and all subsequent poems can be found on the Poetry Foundation's website):
Where i-95 meets the Pike,
a ponderous thunderhead flowered;
stewed a minute, then flipped
like a flash card, tattered
edges crinkling in, linings so dark
with excessive bright
that, standing, waiting, at the overpass edge,
the onlooker couldn’t decide
until the end, or even then,
what was revealed and what had been hidden.
In Thirty Girls, the novelist Susan Minot has set herself several tasks, all of them difficult. First, she wants to imagine the seemingly unimaginable: what it must feel like for a young girl to be abducted and effectively enslaved in the Lord’s Resistance Army in Uganda. Second, she wants to lay bare the problems that confront the writer—and all of us—when faced with such atrocities. And third, she wants to dramatize both barbarism and our responses to it through the lens of a love story—the kind of fevered, haunting affair that readers of Minot’s previous novel, Rapture, will be familiar with.
Robert Stone, author of Dog Soldiers and A Flag for Sunrise, among other novels, died on Saturday at the age of 77. William Giradli has written that "a lapsed Catholic is the most devout Catholic of all," and Stone, who spent his early childhood in a Catholic orphanage, proved the truth of this claim.
Last week, Marilynne Robinson delivered a lecture at the Yale Institute of Sacred Music. In his introductory remarks, the poet Christian Wiman declared that reading Robinson's Housekeeping was, for him, a soul-shattering experience, one of those reading experiences that gives you faith in the power of a book to reveal something absolutely true and beautiful about the world and about yourself.
Readers of dotCommonweal might be interested in a conference that is taking place at Villanova on November 13 and 14. The conference is titled "Christianity and Criticism and Culture and ..." and it will consider how the Christian intellectual tradition might help us to better understand the culture we live in.
In case you all needed further reason to join Scott Moringiello in reading Marilynne Robinson's new novel, it has just been announced that Lila made the short list for the National Book Award. The other nominees include Emily St. John Mandel's Station Eleven, Anthony Doerr's All the Light We Cannot See, Rabih Alameddine's An Unnecessary Woman, and Phil Klay's Redeployment.
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