The Blue Of

When I first started my thesis, I intended for my finished project to be a compilation of poems that aims to reflect and reveal several repeating themes of our society's collective unconscious, such as the relationship between the physical and spiritual aspects of being and the representation of women's lives, organized religion,adolescence, and mental illness. I proposed writing a chapbook of poetry that reflects an exploration of, and sensitivity to, the human unconscious mind, fears, and desires. Consulting other works of surreal, lyric, and confessional poetry, I sought to personallydevelop as both a poet and a psychology student. I made a conscious effort to avoid trying to attach a specific 'meaning' to each poem. I understand that, in poetry, the reader is never entirely aware of exactly what the poet is trying to convey. All the reader knows is what he or she sees in a given poem and how he or she responds to that poem. However, through working on my thesis I discovered that, while meaning may not be intentional in the drafting process, developing what the poem meant to me was central to the process of revision. Furthermore, I realized that I unconsciously returned to specific themes across various poems, something that was not apparent to me until I re-read my entire collection ...

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.

Hinterlands

The poems in Hinterlands are products of my interest in landscape. They feature complex territories that are constructs of the mind, emerging from the language of place. The term “existential territories” seems to fit my work because it suggests that the poems are products of language, spaces, and existential states coming together. The territories exist not as geographic places, but in the psyche, and their physical texture comes from using both the substantive quality of language and the ways language points to place. I do not think the resulting dream-like quality renders them unreal, but rather presents the adventure of navigating a reality unique to the world of the poem. Readers and the personae in these poems map themselves onto the world as the world maps itself onto them.

The Lily and the Lotus: Notes on Translation

This critical/creative project considers Stéphane Mallarmé’s critical poems in his 1897 Divagations as an invitation to explore the notion of criticism and the relationship between the conceptual and the nonconceptual aspects of writing and thinking. Informed by Emmanuel Levinas’s ethics of the face, Walter Benjamin’s essay “The Task of theTranslator” and the myth of Orpheus, I consider ways to approach that which may not be said or thought by following Mallarmé’s method of combining poetry and criticism to create a wandering, unclassifiable text where we may imagine the nonconceptual as a remoteness, as the presence of an absence.

River-Like

I compose a poem in the same way I compose a photograph: shifting focus until I see only what is most beautiful or most terrible, warily choosing what will be in view and what will be left out, trying to find just the right amount of light or darkness. Art¿¿poetry, especially¿¿is a way for me to frame and illuminate experience. In this collection, I investigate experiences that dumbfound me, and the details of landscape become a vocabulary for discovery. The wheat fields of the Midwest are signifiers for loss and homesickness; a Pennsylvania forest is a catalyst for meditations on pregnancy and motherhood. Images of light and of water are abundant in these poems, and the speakers of my poems look to these elements for guidance and comfort with almost religious deference.

Casualty, Causality and Chivalry: the Myth of Chivalry and Racial Violence in Southern Literature

This honors thesis project uses history and literature to analyze the role of the myth of chivalry in mystifying racial violence and oppression in the American South. The central claim is that the myth of chivalry¿ and particularly the exaltation of the white woman¿ is a myth system used to justify racial violence, oppress white womanhood, and allow white patriarchy to maintain political, social and economic dominance. This project traces the role of literature, especially Sir Walter Scott¿s historical romance, in developing the foundational myths of a southern society based in violence, racial hierarchy and gender inequality. It then follows the role of white womanhood in this myth¿ the restrictions on miscegenation, the exaltation of pure white femininity, and the violent actions performed in the name of southern women. With this historical baseline established, this study then explores three works of historical fiction that attempt to subvert this mythology by critiquing and demystifying the myth of chivalry, while also offering counter-narratives to popularized history. These works are Charles Chesnutt¿s 1901 novel The Marrow of Tradition¬, which analyzes the 1898 Wilmington N.C. race riot, Gwendolyn Brooks¿ 1960 poem ¿A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon¿ and Lewis Nordan¿s 1993 novel Wolf Whistle, two works about Emmett Till¿s tragic murder in 1955. This study, then, illuminates the intersection of literature and mythology, revealing how literature is useful for both creating and subverting myth¿and revealing how authors undertake this task.