This is part of a series called Dispatches from an MFA, which details my experiences in the low-residency MFA program at Lesley University. In the second semester, I studied with poet Kevin Prufer. We spent the semester looking at narrative versus lyric poetry.
I’ve been approaching this semester with an alternating focus on the lyrical and narrative modes of poetry. But how exactly does one differentiate between the two? And is it even a valid dichotomy? As with the prose-poetry divide, the more one tries to define it, the more slippery it becomes. In an essay published in 2006, Tony Hoagland writes about “a widespread mistrust of narrative forms and, in fact, a pervasive sense of the inadequacy or exhaustion of all modes other than the associative.” He also acknowledges the difficulty of defining the term: “Under the label of ‘narrative,’ all kinds of poetry currently get lumped misleadingly together: not just story but discursion, argument, even descriptive lyrics. They might better be called the ‘Poetries of Continuity.’”
Published in 2004, Rachel Zucker’s The Last Clear Narrative certainly demonstrates the zeitgeist Hoagland describes. At first pass, the title seems like a joke on the reader. Zucker’s language is disruptive, fragmented. It uses not only syntax but white space and idiosyncratic punctuation – all to skillful effect, but hardly the definition of what most people would call a clear narrative.
Continue reading “Rachel Zucker’s Unclear Narrative”
This is part of a series called Dispatches from an MFA, which details my experiences in the low-residency MFA program at Lesley University. In the second semester, I studied with poet Kevin Prufer. We spent the semester looking at narrative versus lyric poetry. This is the cover letter to the second packet.
For some reason, finishing this packet was very difficult. I’ve been suffering under the specter of self-doubt – both with the craft annotations and with the original work. I hope you don’t mind that the Zucker annotation runs a bit over. She uses a lot of white space, and word placement and white space are integral to the meaning of her poems. So quoting her meant that I had less space than usual for the actual annotation. I feel like I was able to delve into the text of Zucker’s work, but am less sure about the annotation on Matejka’s book. I found myself fascinated with the conversation about “lyric narrative” poetry in the essays I cite in the Matejka annotation, and I’m afraid it took over the paper a bit. But these meta-issues were important for me to consider: the legacy of Confessionalism, the narrative “I,” and the current literary trends toward language-focused work and away from narrative. One of the thing that I liked best about Dante Di Stefano’s piece was the way that he put into context the arc of poetry in the 20th century, from Imagism to High Modernism to Confessionalism, and beyond. When I studied poetry as an undergrad, the latter half of those shifts were still underway. I didn’t have the perspective to consider them from Di Stefano’s point of view. Continue reading “Dispatches from an MFA: Semester Two, Second Packet”