A tradition of subversion: the prose poem in English from by Margueritte S. Murphy

By Margueritte S. Murphy

From its inception in nineteenth-century France, the prose poem has embraced a classy of outrage and innovation instead of culture and conference. during this suggestive learn, Margueritte S. Murphy either explores the heritage of this style in Anglo-American literature and gives a version for interpreting the prose poem, regardless of language or nationwide literature. Murphy argues that the prose poem is an inherently subversive style, person who needs to without end undermine prosaic conventions with a purpose to validate itself as authentically "other". whilst, each one prose poem needs to to some extent recommend a conventional prose style with a purpose to subvert it effectively. The prose poem is hence of specific curiosity as a style during which the conventional and the hot are introduced unavoidably and constantly into clash.

Beginning with a dialogue of the French prose poem and its adoption in England through the Decadents, Murphy examines the results of this organization on later poets comparable to T.S. Eliot. She additionally explores the belief of the prose poem as an androgynous style. Then, with a sensitivity to the sociopolitical nature of language, she attracts at the paintings of Mikhail Bakhtin to light up the ideology of the style and discover its subversive nature. the majority of the ebook is dedicated to insightful readings of William Carlos Williams's Kora in Hell, Gertrude Stein's gentle Buttons, and John Ashbery's 3 Poems. As amazing examples of the yankee prose poem, those works exhibit the variety of this genre's radical and experimental chances.

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27 Until this implication that the figure is made of "carved wood," the reader cannot be sure if this is a real beast in a fantastic narrative, or a bibelot that just seems ready to come to life. As "chimera" in itself denotes an idle fancy, another layer of illusion is present: the creature that may be real or artificial is, by definition, illusory. In a sense, the creature is the materialization of a vain illusion, the keynote for the entire prose poem. The motifs of sinuosity, a gaping cavity, and multiple reflections prepare the reader for the description of the stairway itself.

Ainsi, dans l'année, ma saison favorite, ce sont les derniers jours alanguis de l'été, qui précèdent immédiatement l'automne et, dans la journée, l'heure où je me promène est quand le soleil se repose avant de s'évanouir, avec des rayons de cuivre jaune sur les carreaux. 22 Merrill's translation: For since the white creature is no more, strangely and singularly have I loved all that is summed up in that word: fall. 23 Merrill retains to the utmost Mallarmé's phrasing, conserving the idiosyncrasies of his syntactic turns.

At first glance, the woman at the top of the stairway is evidently the focal point. Yet she hardly represents "le mâle" or "volonté" but rather the opposite, the unreachable feminine with an "ineffable and languishing look" in her eyes. " But it is her will that wins out, and he, the "adorer," is also the source of the illusions represented by the "ligne arabesque"the spiral stairway, the twisting Chimera, and the en- Page 26 chanting designs of the muted tapestries. So, not only is his will and desire denied, but also, in light of the gender distinctions of Baudelaire's thyrsus, he has assumed the feminine role, has been indeed feminized by his illusions and purposeless adoration.

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