"The Glass Essay" by Anne Carson - bibliographing
The Glass Menagerie Essays | GradeSaver
What Walden Pond was to Thoreau, what the sea was to Conrad and Melville, what seeing is to John Berger, Greek and Latin are to Anne Carson: an immense space—because the words now contain the world that once existed around them—that allows her imagination a measureless boundary. Carson wrote her first few books, Eros the Bittersweet (1986), Plainwater (1995), and Glass, Irony and God (1995), with the brio of one who had sighted an undiscovered country where imagination could renew itself and break free of the well-trodden territories that have served, tragically, to marginalize poetry (an art that sulks like Achilles when it is cut off from an active readership). Glass, Irony and God, one of the finest debut books of poetry published in English in the twentieth century, was written with an almost inconceivable urgency and power. In "The Glass Essay," Carson moves through searingly painful meditations on her father's dementia, her lover's unreliability, and Emily Brontë. But as she predicted in Glass, "The vocation of anger is not mine / I know my source." Over the years, Carson has learned how to transform anger into an empowering force, and her works after her mother's death in 1997 are studies in solitude, all the more affecting for the number of scenes that take place in harsh northern winters.
Verglas: Narrative Technique in Anne Carson’s “The Glass Essay ..
“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). There is a fair amount of narrative about her activities with her mother, her walks on the moor, and her dreams, many of which are disturbing and features “nudes” that she uses to help guide her on her way to recovery. All this is mixed in with anecdotes and musings on Emily Brontë, a woman with powerful emotions and plenty of sexual energy in her work, though she apparently knew nothing of men and hardly anything even of people outside her own family.
It is in Carson's skill for weaving Emily Bronte's persona together with the speaker's, however, that "The Glass Essay's" abundant despair becomes most compelling. Like Bronte, whose storied alienation and seclusion comprise much of the poem's focus, the speaker identifies deeply with the moor's landscape. "My lonely life around me like a moor," she says, going on to describe the moor as "paralyzed with ice" in a moment of pathetic fallacy.To glimpse Carson's Dickinsonian power -- as good a place as any to begin --take a look at "The Glass Essay," the first piece in . This "essay" is a 37-page narrative poem, divided into short piecesthat are more chapters than shards of a sequence.“The Glass Essay” was far and away my favorite poem in the collection, though the others were mostly good as well. There is also, though, a “real” essay in the book, which I did not much care for at all. I hope to get around to writing about why later this week.