By John Hollander
A wonderful new assortment from considered one of our so much unusual poets.
Here are poems that discover the ways that traditional items open doorways to the extra hidden, unconscious truths of our internal selves: a fowl of “countless colors” calls to brain “the echo . . . / of an internal occasion / From my forgotten past”; a subway bee sting inspires fast not likely visits via the muses—a non permanent understanding that's “as a lot of a / reward from these 9 sisters as / Is ever given.”
Other poems lay naked the imperfect nature of our stories: fact altered by way of our unavoidably much less actual yet might be “truer” remember of previous occasions (“memory— / As filled with random holes as any / Uncleaned window is of spots / Of blur and dimming—begins straight away / To interfere”). nonetheless others study the dramatic adjustments in viewpoint we endure over the process an entire life as, within the poem “When We Went Up,” John Hollander describes the various responses he has to mountaineering a similar mountain at assorted issues in his life.
In the entire poems Hollander illuminates the fluid nature of actual and emotional adventure, the connections among the easy issues we come upon on a daily basis and the ways that the which means we characteristic to them shapes our lives. just like the harmonious coming jointly of bandstand tools on a summer season afternoon, he writes, so much of what we come to grasp on the planet is “A loss of life second / Of lastingness thenceforth / Ever to not be.”
Throughout this thought-provoking assortment, Hollander unearths the ways that we're regularly growing precise worlds of our personal, “a draft of light” of our personal making, and the way those worlds, in flip, continuously form our most simple identities and truest selves.
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Additional info for A Draft of Light: Poems
Circulating as such, Tara enacts the catachrestic logic of the objet a as, in Krips’s words, “a substitute for an object constituted retrospectively through the act of substitution” that, in turn, “creates the false impression that there was something . . ”6 To be sure, Gone with the Wind is not the first text to conjure an Old South as nostalgic compensation for present deprivations. But no cultural text has ever done it better or more completely. Tara is the sim-plantation that all real plantations of the tourist industry strive to reproduce, an ineffable space toward which actual spaces of all kinds are mobilized, a platonic ideal that quotidian objects of all sorts, from wedding cake toppers to Barbie dolls, strive to represent.
4 Apter is not, however, speaking of Tara per se, but of the fetish, and in reading the former through the analytical lens of the latter, I hope to account for what I regard as the narrative’s fundamental rearrangement of (southern) culture from a default condition coding and regulating desire to an object in itself desirable, if never fully attainable. ” Within this economy, the fetish acquires two analogues central to my project: the commodity and the simulacrum. ” Just so, I argue, with Tara: no one ever fully buys into it, which is not to say that no one buys it.
42 But a world so connected is an affront to narrative, and, as it turns out, an affront to Todd and Anna as well: however capriciously, the episode recuperates disarray as a form of order. ”) Critically, we would judge Anna’s conclusion of a southern way of life as having a tacked-on quality. But whatever its aesthetic shortcomings, Anna uses the South to tell a story about her weekend, just as she uses her weekend to fabricate a location of culture. In its broad contours, as I hope to show in the chapters that follow, this logic informs as well more substantive and compelling narratives of cultural reproduction.