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• W1988747393 abstract "Jarrell saw a strangeness in the daylight, and loved inhuman nature.-John Updike, Fly by NightIWith particular reference to the work of Hawthorne and Melville, Sharon Cameron argues that allegory, while hardly unique to the United States, has enjoyed a particular after-life within American letters. For Cameron, requires the body's dissolution as an instrument of at times violent self-realization (1981, 4-5). In 1854, Hawthorne famously wrote to his friend James T. Fields, Upon my honor, I am not quite sure that I entirely comprehend my own meaning in some of these blasted allegories; but I remember that I always a meaning-or, at least, thought I had (Myerson 2002, 181).1 Hawthorne's ambivalence about the use of allegory-as that rather confounding structure upon which to read the body, character, and canon-is suggestive. With reference to the poetry of Randall Jarrell, I want to urge, if only delicately, a principled return to a blasted allegorical criticism in relation to the body it blasts. I am interested in doing so, not only to sound the fuller length of a uniquely American canonical constant which Cameron posits across a longer (in Jarrell's case, modernist) literary history, but also to recognize, or refamiliarize, as that foundling trope of formal criticism prematurely abandoned by poststructuralist orthodoxy.Recuperating allegorical criticism allows us, in turn, to reconsider (or even, as Jarrell supposed, to reinvent) the process of speaking or writing the story or poem in relation to the body as, to cite Cameron's famous words, than what we or less than what we are-that, more or less, we could be different from what we are (1981, 4). At once quiet and quietist, Jarrell's poetic allegories of the body in a state of becoming-and not strictly those of the body in pain-breathed new life into the form and method of as an instrument of poetry. He did so in times of philosophical uncertainty, by reorienting the more traditional properties of toward more modern and phenomenological uses. As Deborah L. Madsen notes, allegory enters the debate about the nature of [modernity] as a mode of perception, rather than in its conventional role as a referential method. Rather than an exegetical solution to the of referentiality, . . . is conceived as a way of registering the fact of crisis (1994, 119).The turn within modernist letters Madsen recognizes-toward perception and away from referentiality-is significant, because it allowed Jarrell to re-fashion so as to serve a dual purpose: first, of transcending the text and context of the world as given; and, second, of at once re-centering and de-centering the reader (or writer) as perceiver. Jarrell, like other poets of his remarkable generation, certainly registered perceptions of the epistemological Madsen describes; beyond this, his metamorphic poetry was equally therapeutic. The bodies and perceptions of his personae undergo change as the formal, allegorical response to historical change. Jarrell's metamorphic allegories served equally well as evidence for the processes (and not solely the products) of philosophical inquiry concerning the imagined fate for the individual human body (including an understanding of being as, inexorably, linked to the fate of that imagining) in the modern world.2Offering poetic process in the interests of therapy, Jarrell's allegories could reframe the leitmotif of the modernist self in in line with Edward Hirsch's formulation, as the passionate involvement and deep identification with the sufferings of others and the simple commitment to the humanly flawed (Ferguson 2003, 10). The body and spirit of the hollow man might be transformed as the imagining of recovery. Jarrell is accordingly able to engage in a kind of allegorical transport, beyond the of text and con text. His poems ponder the ultimate dissolution of the poetic persona not as a problem of ontology (presence and being) but as one of transitive process (becoming). …" @default.
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• W1988747393 date "2012-01-01" @default.
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• W1988747393 title "Jarrell's Allegories" @default.
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• W1988747393 doi "https://doi.org/10.1353/lit.2012.0017" @default.
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