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Sarah - Of Fragments and Lines (National Poetry Series) [Paperback]

Julie Carr (Author)

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Book Description

August 17, 2010 National Poetry Series

A National Poetry Series winner, chosen by Eileen Myles.

Set to the music of rain, these shattered elegies seek communion in the ethereal place between birth and death.

“As a reader I feel included a lot in Julie Carr’s hard and beautiful book. I can pretty much hear its author speak—a whispering that enables us into its world . . . a masterfully sutured journey, painfully useful. Sarah—Of Fragments and Lines is a book I know I will return to. And urge it on my friends who have lives too and write in them.”—Eileen Myles

“Julie Carr’s harrowing new book is composed of a complex music of grief and fragmentation that illuminates the fragile distance between mothers and daughters. To read Sarah—Of Fragments and Lines is to recall once again that memory might just be the singular attribute of being human and that there can be no poetics of daily life that does not confront loss. Such is the domain of love; such is the vocation of poetry.”—Peter Gizzi

In the wake of a mother’s battle with Alzheimer’s and a child’s impending birth, Julie Carr gathers the shards of both mourning and joy to give readers poems that encompass it all: “Zebra and xylophone cyclone and sorrow.” Here she says, “Since I lost her I stored her like ore in my / form as if later I’d find her, restore her,” giving voice to the longing that accompanies life’s most profound losses and its most anticipated arrivals.



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Editorial Reviews

From Publishers Weekly

Starred Review. A mother's steep mental decline, a poet's pregnancy, a daughter's birth: these events resonate throughout the taut fourth collection from Carr (Equivocal). Yet Carr's real achievement, in these spare pages, has less to do with story, autobiography, psychological grief, or emotional growth than with the way her lines and phrases sound: as her baby-to-be grows, as her mother loses her memories, as Carr herself shuttles among her triple roles as mother, daughter, writer, individual words and phonemes shuttle back and forth like classical melodies, almost (but not quite) reduced to pure sound. œA word turns in a thought while a foot's in the, the literate belly: timed, measured kissed./ Mired in rhyme, I rise and am two,  Carr writes in œGrief Abstracts,  and her monostichs, her blocks of short prose, stand always on the edge of abstraction--albeit she never falls in. Repetitions and echoes owe something to Gertrude Stein, but Carr's earnest music never simply repeats earlier experiment. Rather, her spare songlike pages, interspersed with blocks of clearer prose, portray the strong contrary pulls in her divided mind: œThe idea, which she knows to be illogic... is that if she is pregnant the baby will keep her mother alive. 
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Review

“As Carr shuttles among her triple roles as mother, daughter, writer, individual words and phonemes shuttle back and forth like classical melodies. . . . Repetitions and echoes owe something to Gertrude Stein, but Carr’s earnest music never simply repeats earlier experiment. Rather, her spare songlike pages . . . portray the strong contrary pulls in her divided mind.”—Publishers Weekly (starred review)



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