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• W2799014712 abstract "Christine Garren. Among Monarchs. Chicago: Univ. of Chicago Press, 2000. Indeclinable, relational, sovereign its way, preposition is an apt emblem both for and for elegy's formal reckonings. More than simply evoking a before and after, has a way of overpowering time, of nestling both there and here, deforming past and future to fit its own unbending form. What shall this not govern? What will take its place on far side of place brings us to? Elegy, a poetry of position more than resolution, catches itself these questions, and resists face of grief any reductive appeals to outside, including, of course, claims for poetic imagination's own power to transcend that which it shapes. This is where am; this may be enough. Among Monarchs, Christine Garren's remarkable second book of poems (Afterworld was published 1993), patiently and expertly explores time and place of loss, moods of grief. Prepositions abound, as opening of Picnic: When man and woman are finished, they throw last wings to dog. There's an apple woman's lap, her skirt, late spring. At some point, watching her fold cloth basket, remember that am going to die. A marker of occasion and thus also of distance, in works here to connect mundane scene to speaker whose watching transforms it. It reels poem around itself; and by sealing off scene's vividness, web of in...in.. in... in.. into anchors syntactic resolution of final clause, where, just on edge of cliche, elegy sounds as elision of tense and time, insistence on a memory of a future that is itself all past. The poem is a brief history of world as loss, and life as loss, but most notable is how quietly it moves around its signs, lines already quoted (man and woman, wings, apple, spring) and at its mordant conclusion: I understand dog, can of insect repellant, couple- / their dirty baby that cries and is ignored and then stops. The poems are fascinated as much with space as with time of loss. The apartment is a key metaphor here: home defined by awareness of its impermanence, as though tenant, like lovers who at very moment they kiss embody their belief doom, a giving to loss (Love), were always already attendant on an inevitable departure and grief: Toward end of August, understood had rented a room that would never be mine because being room was like standing air of an oasis blunt with emptiness. (The Tenant) And slyly titled Sulfur, speaker is caught, memory as childhood, between sounds at night of the other tenants' cars/on gravel drive and sound of her mother across hall: Even I'd hear her cough, then cough again. Again cough. And then I'd hear her draw match across book. The economy of writing here is a marvel. The four words that open and close passage, parenthesizing insistent repetition, together carry Garren's larger elegiac argument: even then, which is how levels out time and memory its present; and the which is both matchbook and poetry book, and so declares just how little exclusive is poet's claim on past that her writing is said to shape. …" @default.
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• W2799014712 title "Among the Monarchs" @default.
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