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Editorial Reviews
Review
"Poet and critic Dan Chiasson''s debut collection of essays focuses on the role of autobiography in poetry and the issues that arises from poems of personal experience....Chaisson argues that whether a poet is actively emplying autobiography or developing personas and barriers that veil his or her true self, it is when the poet engages the challenges of identity in poems that the writing is at its most thoughful."-American Poet (American Poet )
"In demonstrating the prevalence of subjectivity in 20th-century poetry, Chaisson is scrupulous in his attention to detail: footnotes and attributions to recent criticism amplify his developing argument." (Choice )
"In vigorous, engaging essays that are mercifully free of jargon, [Chiasson] explores the role of autobiography in the work of Lowell, Bishop, Bidart, O''Hara, Gl�ck, and the Language school. . . . His earlier critique of the Language poets--that they fail to ''delight and instruct,'' cannot be extended to Chiasson''s book: delighting and instructing is exactly what One Kind of Everything accomplishes." (Ellen Davis Salamander )
"Dan Chiasson is the man we''ve been waiting for-a critic of good sense and grand sensibility, who can respond with alert clear intelligence to all aspects of a poet's work. Reading One Kind of Everything, I long to be adequate to his receptivity and insightfulness, and it is a testament to his lucid prose that for pages at a time I have the illusion that I am."-Sven Birkerts (Sven Birkerts )
"In demonstrating the prevalence of subjectivity in 20th-century poetry, Chaisson is scrupulous in his attention to detail: footnotes and attributions to recent criticism amplify his developing argument." (Choice )
"In vigorous, engaging essays that are mercifully free of jargon, [Chiasson] explores the role of autobiography in the work of Lowell, Bishop, Bidart, O''Hara, Gl�ck, and the Language school. . . . His earlier critique of the Language poets--that they fail to ''delight and instruct,'' cannot be extended to Chiasson''s book: delighting and instructing is exactly what One Kind of Everything accomplishes." (Ellen Davis Salamander )
"Dan Chiasson is the man we''ve been waiting for-a critic of good sense and grand sensibility, who can respond with alert clear intelligence to all aspects of a poet's work. Reading One Kind of Everything, I long to be adequate to his receptivity and insightfulness, and it is a testament to his lucid prose that for pages at a time I have the illusion that I am."-Sven Birkerts (Sven Birkerts )
Product Description
Taking on one of the most crucial issues in American poetry of the last fifty years, celebrated poet Dan Chiasson explores what is lost or gained when real-life experiences are made part of the subject matter and source material for poetry. One Kind of Everything elucidates the uses of autobiographical fact and constructions of personhood in American poetry since World War II, with helpful reference to American literature in general since Emerson.
Poetry styles in the United States, Chiasson shows, have become polarized in the last half century, characterized as excessively confessional on the one hand, and experimental and rigorously skeptical, on the other. In five extended, scholarly essays—on Robert Lowell’s facts, which blur the identity of the people depicted in his poems; Elizabeth Bishop’s masks, which confound any kind of personal disclosure to the reader; Frank Bidart’s presence behind inherited texts; Frank O’Hara’s chatty nonchalance that hides a deep interest in acts of memory; and Louise Glück’s sincerity, which hinges on the reader’s willingness to trust the lyric speaker—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographic material, either in an effort to embrace it or denounce it.
Poetry styles in the United States, Chiasson shows, have become polarized in the last half century, characterized as excessively confessional on the one hand, and experimental and rigorously skeptical, on the other. In five extended, scholarly essays—on Robert Lowell’s facts, which blur the identity of the people depicted in his poems; Elizabeth Bishop’s masks, which confound any kind of personal disclosure to the reader; Frank Bidart’s presence behind inherited texts; Frank O’Hara’s chatty nonchalance that hides a deep interest in acts of memory; and Louise Glück’s sincerity, which hinges on the reader’s willingness to trust the lyric speaker—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographic material, either in an effort to embrace it or denounce it.
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