The story opens with a first-person reflection on the protagonist's kidnapping, then segues quickly to two weeks earlier, when events began to build. So far, nothing extraordinary. But this isn't just a story of a murder and kidnapping: Bonnie is taking an oath of office, and it's time to celebrate her big promotion:
She is quite unlike any other poet writing today.
Carson takes risks, subverts literary conventions, and plays havoc with our expectations. She is a wonder: She writes as if every poet, writer, religious thinker, and philosopher who has ever lived is still our contemporary. Carson is immensely learned. To work with fragments of ancient lyric poems, as Carson does, is to [be] an archaeologist of the invisible whose tools are her learning and her imagination.
She is interested in her characters in a way that most poets are not. Her language is the language of fiction and the manner in which the stories are told resembles magical realism with its wild imaginings and its carnival atmosphere. As for her subject matter, she writes perceptively and amusingly about men and women in love, their jealousies, their misunderstandings, and the solitude which they are not able to overcome.
The essays in Decreation are full of marvelous insights. What the poet and the authentic thinker share, according to Heidegger, is their ability to wonder at how things exist and to live with that wonder.
Carson reminds us that poeticizing in this broader philosophical sense and in the narrow sense of the poetic have always been related. The play of philosophical ideas makes [all] her books worth reading. Enthralling, masterful, engaging, stunning, inspired, impressive, profoundly moving, poignant, probing.
Carson has emerged in the last two decades as a kind of prophet of the unknowable.
Carson attempts [this task] with great tenderness, framing the undoing as a work of love that compels one to forsake oneself in order to be something more—truer, more luminous, and also more transient. Carson moves from form to form—poetry, essay, screenplay—and from body to body.Vintage Canada - October 04, - 30 Comments Decreation: Poetry, Essays, Opera by Anne Carson.
Reviewed by James Pollock. Anne Carson is often called avant-garde because of her generic innovations and her experiments with prosody and form.
The poetry and prose collected in Plainwater are a testament to the extraordinary imagination of Anne Carson, a writer described by Michael Ondaatje as "the most exciting poet writing in English today." Succinct and astonishingly beautiful, these pieces stretch the boundaries of language and literary form, while juxtaposing classical and modern traditions.
Cowper's Bookshelf Rites of Passage at $, to $1 Million+, new edition John Lucht Viceroy Press c/o Cardinal Publishers Group (dist.) North Shadeland Ave., Suite A.
Decreation: Poetry, Essays, Opera [Anne Carson] on heartoftexashop.com *FREE* shipping on qualifying offers. One of the most interesting gatherings of material that any poet has published within living memory. -- The Economist Simone Weil described “decreation” as “undoing the creature in us” -- an undoing of self.
In her first collection in five years/5(5). Decreation: poetry, essays, opera User Review - Not Available - Book Verdict.
Carson here presents a hybrid collection of works she labels "poetry, essays, and opera" in poetic form and language. Decreation: Poetry, Essays, Opera explores, from a wide variety of perspectives, the theme of the sublime annihilation or decreation of the self.
Carson borrows the term “decreation” from the French philosopher and mystic Simone Weil, for whom the purpose of such an .