The Glass Essay by Anne Carson : The Poetry Foundation

Aside from grammatical and linguistic devices, though, another successful experiment is Carson's capacity for engaging in biography and autobiography simultaneously in "The Glass Essay," as Emily Bronte's life becomes a mirror for the speaker's own predicament and contributes an additional layer of complexity and pathos.

"The Glass Essay" by Anne Carson - bibliographing

Winged Ink: The Glass Essay by Anne Carson

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.

Anne Carson, “The Glass Essay”
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.
Anne Carson, “The Glass Essay”

The Glass Castle Essay Contest - Chaffey College

Carson has written often about love and loss. In her wonderful poem “The Glass Essay,” the narrator is also an abandoned wife, but there she is much less bewitched:And in that work she also made much more effective and powerful use of another writer’s life and work – Emily Bronte.

Anne Carson, “The Glass Essay”

The Glass Castle Essay Assignment - Ohio State ATI

Where Dickinson used dashes to reveal the full power of a particular word or line, Carson resorts to an unusual frequency of periods, creating abrupt shifts of focus that help the poem encompass as much subject as possible within just a few sparse lines. In "The Glass Essay," she resorts to this device immediately and often:

In a recent comment about verse novels I mentioned The Glass Essay by Anne Carson

The Glass Essay by Anne Carson.

In Decreation Carson identifies Michelangelo Antonioni—through his films and interviews—as an artist who has melded ancient truths as they manifest themselves in contemporary situations. His aesthetic posits a reality where primal energies are still present, even if repressed, in everyone who is alive. She focuses on an interview in which Antonioni discloses how he was forced to shake up an immature Lucia Bosé while directing the final scene of his first movie, Story of a Love Affair, by crossing a dangerous boundary: "She was not an actress. To obtain the results I wanted I had to use insults, abuse, hard slaps." Carson ends the "Spill" section of her essay "Foam (Essay with Rhapsody)" with this move: "‘Sublime natures are seldom clean!' is Longinus' way of putting it. Slap." This "slap" brings us back to a stark passage in "The Glass Essay."