By Catherine Karaguezian
Publish 12 months note: First released in 2005
To date, no book-length research of the paintings of poet Jorie Graham has been released. Graham now holds the celebrated Boylston Professorship of Rhetoric and Oratory at Harvard college. Recipient of a MacArthur Fellowship and a Pulitzer Prize, Graham has proven herself as some of the most very important poets of her iteration.
This booklet addresses the relationship among Graham's paintings and the legacy of yankee Modernism, arguing that her habitual curiosity within the seen global and the way top to symbolize it in her poetry will be noticeable as a continuation of the paintings of Eliot and Stevens. For Graham, the seen global is a way of coming near near the ineffable, or the divine.
The poet's method of the ineffable in her paintings is conflated now and then with the connection among the self and the opposite: conserving the integrity of either and appropriately representing the reality of what she sees turn into an ethical venture for the poet, aligning her paintings with that of the Moderns.
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Extra resources for No Image There and the Gaze Remains: The Visual in the Work of Jorie Graham (Studies in Major Literary Authors)
Graham's career-Iong theoretical interest in visuality is aptly represented in Photographs and Poems by Barron's photographs. In her next collection, Swarm, Jorie Graham undertakes arevision of form that results in poetry more resistant to the reader's comprehension than any she has yet written. Swarm is, correspondingly, even more aggressive in seeking the curative condition of wholeness that Graham has always desired; Graham defines that condition as a relationship with the divine, explicitly connecting her more general search for the invisible with a higher power for the first time.
Graham's effort to know both the visible world and the absence it implies is eventually enacted ideologically in her poetry. Exploring the mastery inherent in acts of looking, she strives in her work to engage in creative acts of seeing and to convey those acts through an art that avoids objectifying or subjugating what is seen. The poet's voyeuristic viewpoint in her earliest Jorie Graham as Twenty-First Century Modernist 23 book is noteworthy in light of the exploration of looking in later books, specifically, in The End of Beauty, Region of Unlikeness, and Materialism.
The remarkable number of poems in Erosion that address or mention works of visual art has been noted by critics: while many mention it, Bonnie Costello is one of the few to identif}r what she sees as its source. 2 Costello's view is that "in Erosion . Graham treats the icon as a form of rescue from the flux and as a veil which shrouds but also discloses the infinite" (395). Undeniably, Graham does temper her inability to describe with truth or accuracy by writing ekphrastically. In Erosion, however, the poet also seems to come to terms with her inability to convey reality accurately, celebrating it, even as she reconciles that inability with the compensatory transformative power of the imagination and the art it produces, "a beautifullie" ("Reading Plato" 6).