The Paradigm of the Void: Louise Glück’s Post-Confessional Deadlock

2021 ◽  
pp. 69-87
Author(s):  
Kacper Bartczak
Keyword(s):  
Nobel Prize ◽  
21St Century ◽  
Critical Evaluation ◽  
American Poetry ◽  
The Self ◽  
John Ashbery ◽  
Early 21St Century ◽  
Louise Gluck ◽  
Double Response ◽  
American Poets

Awarded the Nobel Prize in literature, Louise Glück emerges as one of the major and most important American poets of the late 20th and early 21st century. What does this centrality tell us about the trajectory that the American poetry has traced since modernism? I attempt to offer a critical evaluation of Glück’s post-confessional stylistic, developed between the debut Firstborn (1968) and Averno (2006), by setting it in contexts that are historical and, later in the paper, psycho-theological. First, I treat her formula as a double response – to the modernist legacy of T. S. Eliot and to the challenges of postmodernity. Faithful to Eliot’s urge to transcend the biographical by connecting it with the transcendental, Glück resists the skeptical thesis of the demise of grand narratives, and writes in defiance of the postmodernist poetics of such poets as John Ashbery. Not undermining the biographical foundation of the lyric – the way Ashbery has done in his linguistic excess – she strives to make it paradigmatic. However, in this heroic search for a paradigm, Glück proposes a deeply ambiguous modification of Eliot that I characterize in psycho-theological terms. Following Agata Bielik-Robson’s research, I characterize Glück’s metaphysics as a form of Thanatic Lacanian Gnosticism. At this level we confront the costs of Glück’s post-confessionalism: a serious impairment of all those aspects of the self that make it an embodied and gendered human being.

The First Book

2015 ◽  
Author(s):  
Jesse Zuba
Keyword(s):  
Twentieth Century ◽  
Cultural History ◽  
American Poetry ◽  
Wallace Stevens ◽  
Literary Analysis ◽  
John Ashbery ◽  
Twentieth Century Literature ◽  
Marianne Moore ◽  
The Past ◽  
Louise Gluck

“We have many poets of the First Book,” the poet and critic Louis Simpson remarked in 1957, describing a sense that the debut poetry collection not only launched the contemporary poetic career but also had come to define it. Surveying American poetry over the past hundred years, this book explores the emergence of the poetic debut as a unique literary production with its own tradition, conventions, and dynamic role in the literary market. Through new readings of ranging from Wallace Stevens and Marianne Moore to John Ashbery and Louise Glück, the book illuminates the importance of the first book in twentieth-century American literary culture, which involved complex struggles for legitimacy on the part of poets, critics, and publishers alike. The book investigates poets' diverse responses to the question of how to launch a career in an increasingly professionalized literary scene that threatened the authenticity of the poetic calling. It shows how modernist debuts evoke markedly idiosyncratic paths, while postwar first books evoke trajectories that balance professional imperatives with traditional literary ideals. Debut titles ranging from Simpson's The Arrivistes to Ken Chen's Juvenilia stress the strikingly pervasive theme of beginning, accommodating a new demand for career development even as it distances the poets from that demand. Combining literary analysis with cultural history, this book will interest scholars and students of twentieth-century literature as well as readers and writers of poetry.

Dissonance and Attitude Change

2021 ◽  
Author(s):  
Jeff Stone ◽  
John J. Taylor
Keyword(s):  
Social Psychology ◽  
Cognitive Dissonance ◽  
21St Century ◽  
Attitude Change ◽  
The Self ◽  
Cognitive Mechanisms ◽  
Cognitive Dissonance Theory ◽  
Early 21St Century ◽  
Dissonance Theory ◽  
And Behavior

Cognitive dissonance theory (CDT) was first introduced by Leon Festinger. Cognitive dissonance is the process by which people detect an inconsistency between cognitions, such as attitudes, beliefs, and behavior. When individuals become aware of an inconsistency between cognitions, they experience a state of psychological discomfort that motivates them to restore consistency. Factors such as the importance of the cognitions and the magnitude of the discomfort play a role in determining how people restore consistency. Festinger described three primary ways people can reduce dissonance: change a cognition; add new cognitions; or change the importance of the inconsistent cognitions. Many early studies showed that when people are unable to change their behavior, they will change their attitudes to be more in line with the inconsistent behavior. Over the years, CDT has undergone many challenges and revisions. Some revisions focus on the importance of cognitions about the self in the processes by which dissonance motivates attitude change. Others focused on the consequences of the behavior and various cognitive mechanisms that underlie the experience of dissonance. In the early 21st century, research has examined the underlying motivation for dissonance-induced attitude and behavior change, and how people prefer to reduce dissonance once it is present. And, as with the entire field of social psychology, dissonance researchers are also raising concerns about the replicability of classic dissonance effects and focusing their attention on the need to improve the methods the field uses to test predictions going forward.

Contemporary Voices in Asian American Lyric Poetry

2020 ◽  
Author(s):  
Jennifer Chang
Keyword(s):  
21St Century ◽  
Asian American ◽  
The United States ◽  
American Poetry ◽  
Fiction Writers ◽  
Asian American Poetry ◽  
American Poets ◽  
And Migration ◽  
Lyric Tradition ◽  
The Impact

Asian American poetry flourished in the first two decades of the 21st century. In 2004, the Asian American literary organization Kundiman hosted their inaugural workshop-based retreat at the University of Virginia, connecting poets from the United States and North America across generations. (The retreat continues to be held annually at Fordham University and has included fiction writers, as fellows and faculty, since 2017.) The first year of Kundiman’s retreat coincided with the publication of Asian American Poetry: The Next Generation, edited by Victoria Chang, which introduced emerging poets Kazim Ali, Cathy Park Hong, Aimee Nezhukumatathil, Srikanth Reddy, and Paisley Rekdal, among others, to a broader audience of readers and critics and, at the same time, urged a reassessment of the contemporary poetry field. Both events signaled an emergent generation’s desire to find community and acknowledgment for their work. Not only were these goals accomplished, but the collectivization of young Asian American poets and critical attention from universities and other cultural institutions also evinced how powerfully the impact of a previous generation of Asian American poets had been felt. That generation arguably began with the publication of Cathy Song’s Yale Younger Poets Prize–winning book Picture Bride in 1982 and grew to include Marilyn Chin, Li-Young Lee, Garrett Hongo, and Agha Shahid Ali, whose work can be found in Norton anthologies of poetry and various other canon-defining projects. The critical and cultural acceptance these poets enjoyed at the end of the 20th century blazed a trail for Asian American poets of the 21st century, who increasingly balance the lyric conventions of emotional expressiveness and imagistic language with audacious political subjectivity. In doing so, Asian American poets of the 21st century have opened up conceptions of lyric, particularly regarding voice, to incorporate questions of identity, immigration and migration, and American cultural experience. Contemporary Asian American poets frequently reimagine the lyric tradition through a distinctly Asian American political imagination.

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

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