No Image There and the Gaze Remains: The Visual in the Work of Jorie Graham (Studies in Major Literary Authors)
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First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
human experience, however, are distinctly opposed to those Graham uses: one of the strengths of Hillman's poetry is its immediacy, which depends largely on its autobiographical basis and detail. This is not to say that Hillman's subject matter is ever unexamined or uncomplicated: as one reviewer puts it, discussing Loose Sugar, Hillman's work takes “the kind of risk” linguistically and philosophically “that propels the work beyond the 19th century construct of narrative and personal voice” to
129–134 “The End of Progress Aubade (Eurydice to Orpheus),” 148–149 “The Errancy,” 138–139 “The Geese,” 81–82, 129, 140 “The Guardian Angel of Point-of-View,” 152 “The Guardian Angel of the Little Utopia,” 139, 151–152 “The Hiding Place,” 102 “The Hurrying-Home Aubade,” 148 “The Lady and the Unicorn and Other Tapestries,” 13, 81, 171 “The Nature of Evidence,” 184 “The Phase After History,” 107, 111, 112 “The Region of Unlikeness,” 102–104, 106 “The Scanning,” 140, 142 “The Sense of
yet cohesive body of work, Graham surpasses those responses, establishing herself as both the heir to and peer of the Modernists. Chapter Two The Impact of the Poet's Eye upon the World and the Word: Hybrids of Plants and of Ghosts and Erosion Jorie Graham's initial collection of poetry, Hybrids of Plants and of Ghosts, introduces the preoccupation with the visible world that will haunt the poet throughout her body of work. While the importance of the volume, published in 1980, has been
the oppressive aspects of vision, first fully realized in The End of Beauty, as indistinguishable from language's similar supplanting of the material. The conquering ability of the look and language working together in a larger historical context align Graham's worldview with Kaja Silverman's interpretation of Lacan's screen as “the conduit through which social and historical variability is introduced” onto the subject (The Threshold of the Visible World 135). For both the Lacanian theorist and
human development when advances in technology brought about a shrinking of the planet—the globe upon which the astronomer lays his hand: scientific inquiry in seventeeth-century Europe yielded such inventions as the astrolabe that sits on the table. Graham's interest in Never, correspondingly, is at the millennial moment when technological progress seems to offer no protection against and perhaps only increases threats to the environment that spawned and sustains human life. The poet asks in