Customer Reviews

The End of Beauty (American Poetry Series)

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In THE END OF BEAUTY, Graham offers us a delicious deconstruction of our mythical histories, our culture, and our art. It puzzles me that few people--even poetry buffs--don't take to her poetry more kindly. For hardly any other contemporary poet--on this side of the Atlantic, anyway--tackles such philosophical, metaphysical, and aesthetic issues with as much vigor as Graham.

Graham's handling of great art and twice-told tales is refreshing in its idiosyncratic usage (and criticism) of postmodern conventions. Reading this book, one cannot fail to see the connections between Graham and Donne, Graham and Derrida, Graham and Ashbery. It's important, I think, especially for readers who fail to grasp many of her ideas, to envision Graham's poetry as part of a much greater discourse between metaphysics and history.

In "Orpheus and Eurydice," Graham retells the story of the mythological lovers, but through the eyes of Eurydice herself, as she vanishes into thin air forever. And in "Breakdancing," she splices together scenes of Saint Teresa's ecstatic prayers in Avila, and breakdancers on a city sidewalk, thus delineating the sense of a multiple reality.

The book will surely leave you with a heightened appreciation for art, as well as art's role in defining and redefining the world.

or maybe that should be "a galaxy of its own...." Every poem in this book is enormous -- dense, generally three or four pages long -- pure terrifying brilliance. This is the most terrifying book I've ever read. The poems are all that inelligent. It takes a lot from you to read it, but it gives back much more. She uses her uncompromising, undisputed formal mastery in The End of Beauty to create something necessarily avant-garde, totally unique. Flawless, utterly magnificent in every jerking twist & nuance & flare. The lines explode in myriad different diferent directions like shrapnel, shrapnel, & bring back more scope than you've ever encountered in one place before with sure victory. She knows how to show rather than tell & how to tell when there's the best way.

When I first read through this book, my mind was set on the auto-pilot of mere linear sense, trying to get some meaning from the poems. Mistake! At a second reading, I let myself drift along with the embracing flow and only then did I experience the sense of Jorie's words. I thought of how I had experienced James Joyce's Finnegan's Wake, and though not comprehending the words or even able to parse them, I began to absorb images and impressions, which became unravelled into a sort of experiencing the reality within the Music of the words. Jorie's language is, indeed, another Music which one ingests much as one experiences an intoxicant dream. Her detractors say that she is an elitist with language, and full of vain puffery. But they do not understand what they're seeing. Jorie's words are a wonderous and beautiful and magical melody!

This Jorie Graham's 3rd book was her first time writing the huge avant-garde housed in her mind. James Tate describes her well as "staggeringly brilliant." Each word in this book spans forever in every direction. Each poem is so massive, so dense. They take a lot out of you, but they reward incredibly. Fracturing & stretching, reaching & grasping. This book is an experience.

Not only Jorie Graham at her best but poetry at its best. Her "Self-Portrait" series is wildly addictive. You will read and re-read these poems and never exhaust their lyric strangeness.