Lauren Schlesinger’s “Turning In & Away”

9 05 2018

LaurenSchlesinger

So, this is pretty cool: as part of her degree requirements to earn an MFA at the University of Washington, Lauren Schlesinger wrote a thesis titled Turning In & Away: A Discussion on the Turn from Description to Revelation within Emblem Poems.”

Here’s the thesis’s abstract:

Turning In & Away explores how poets can use the notion of a turn to generate a sense of uncertainty and surprise within emblem poems. Using poems by Gjertrud Schnackenberg, Elizabeth Bishop, and Emily Dickinson, this critical thesis interrogates how the turn between description and meditation can be used to destabilize how a poem is read. Furthermore, this study examines how these turns can be endorsed by other elements of craft besides their placement within and orientation to the dominating structure of a poem’s argument. This essay concludes with a final discussion about how the turn proves to be crucial for establishing the sense of intimacy or sense of distance between the speaker and the object of inquisition. (2)

The poems Schlesinger focuses on are Schnackenberg’s “Advent Calendar,”Bishop’s “Cirque d’Hiver,” and Dickinson’s “There’s a certain Slant of light”–wonderful emblem poems, all.

Schlesinger’s approach is to use the thinking on the emblem poem found in Structure & Surprise as an initial entry into the poem, but then to move beyond this kind of introductory treatment of the structure in order to examine the more nuanced, complex dynamics of the emblem’s turn. As Schlesinger states,

[W]hile explicating poems by Gjertrud Schnackberg, Elizabeth Bishop, and Emily Dickinson, I will investigate how the making and unfolding of an emblem poem is also an investigation into how the poet navigates the relationship between the eye and the mind—such that the mind does not always follow the eye, but always the interplay and dance between them is essential to the emblem poem. (4)

What follows, then, is a close reading of each of the poems. Each reading is attentive, perceptive, and revealing. Anyone interested in the emblem structure will find these readings highly engaging.

Of particular interest, though, is the fact that MFA candidate Schlesinger is clearly intrigued by the emblem poem as a working poet. Schlesinger states,

[I]t is evident that—for me— as I proceed to write emblem poems in the future, I must reconsider how I, too, can modulate the orientation of the speaker to the object—to delay, to fuse, to wrench, or to annihilate the speaker’s consciousness between and from the source that arouses such a meditation. Pace and placement of this turn determine the momentum of surprise. (32)

 

I can’t wait to read Schlesinger’s work! I’ll post what I can of it when I can.

In the meantime, if you’re hungry for more great thinking about turns, check out the contributions made to the Voltage Poetry website by the faculty on Schlesinger’s thesis committee: “Turn, Counterturn and Stand: Music and Meaning in Wallace Stevens’ ‘Autumn Refrain,'” by Pimone Triplett; and “False Turns in Alan Dugan’s ‘Last Statement for a Last Oracle,'” by Andrew Feld.

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Close Reading “Close Reading: Windows”

9 01 2011

As I have stated elsewhere on this blog (such as here, and by including many of her poems as exemplars of particular types of turns), poet-critic Jane Hirshfield is one of today’s great advocates and practitioners of the poetic turn.  Hirshfield’s advocacy for the turn continues in her latest, excellent essay on poetry, “Close Reading: Windows” (The Writer’s Chronicle 43.4 (Feb. 2011): 22-30).

Hirshfield begins her essay, stating, “Many good poems have a kind of window-moment in them–a point at which they change their direction of gaze or thought in a way that suddenly opens a broadened landscape of meaning and feeling.  Encountering such a moment, the reader breathes in some new infusion, as steeply perceptible as any physical window’s increase of light, scent, sound, or air.  The gesture is one of lifting, unlatching, releasing; mind and attention swing open to newly peeled vistas.”

Though Hirshfield notes that such window-moments may be momentary elements within a poem, most often the window-moment is associated with the turn.  Hirschfield states, “In the swerve into some new possibility of mind, a poem with a window stops to look elsewhere, drawing on something outside of its self-constructed domain and walls.  A window can be held by a change of sense realms or a switch of rhetorical strategy, can be framed by a turn of grammar or ethical stance, can be sawn open by an overt statement or slipped in almost unseen.  Whether large or small, what I am calling a window is recognized primarily by the experience of expansion it brings: the poem’s nature is changed because its scope has become larger.”

The relation between the window-moment and the turn is made even clearer when one considers that many of the poems Hirshfield discusses in her essay have major turns, turns which often are equated with the window-moment. 

The turn in the final stanza of Philip Larkin’s “High Windows” is the major window-moment in the poem, the place where, according to Hirshfield, the poem “suddenly turns.”  (In Structure & Surprise, Christopher Bakken considers “High Windows” a poem employing an ironic structure.)  

A vital window-moment in Emily Dickinson’s “We grow accustomed to the Dark–“ (a poem that employs a Metaphor-to-Meaning Structure) occurs at the poem’s major turn from metaphor to meaning; as Hirshfield notes, “‘And so of larger–Darkness– / Those Evenings of the Brain– / When not a Moon disclose a sign– / Or Star–come out–within–‘  With these lines, the poem moves into charged terrain.”

In Wislawa Szymborska’s Some People, a poem employing a List-with-a-Twist Structure, the window-moment occurs at the poem’s final twist.  As Hirshfield notes of the poem’s third-to-last line, “With that line’s grammatical knife-twist, certain kinds of awareness we were not even aware had been supressed rush back into the poem.”

The major turn in Czeslaw Milosz’s “Winter,” again, turns out to be its window-moment.  Hirshfield, in fact, calls the poem’s “mid-point turn to the vocative ‘you'” one of “the most breathtaking transitions and window-openings to be found anywhere in poetry, in its intimacy and in what it summons.”

I learned a great deal from “Close Reading: Windows.”  Not the least of this learning came from being introduced to (or reminded of) of some excellent poems with amazing turns in them.  I added Dickinson’s poem to the Metaphor-to-Meaning Structure page and I added Szymborska’s poem to the List-with-a-Twist Structure page after reading Hirshfield’s excellent, informative essay.  Inspired by and agreeing with Hirshfield, I also decided to add Milosz’s poems to the list of poems on Voltage!, the page of this blog devoted to poems that have truly shocking and amazing, truly electric, turns.

I’ve been deeply impressed by some vital new writing on issues intimately related to the turn, writing such as Peter Sack’s “‘You Only Guide Me by Surprise’: Poetry and the Dolphin’s Turn” and Hank Lazer’s “Lyricism of the Swerve: The Poetry of Rae Armantrout” (collected in Lyric & Spirit: Selected Essays 1996-2008).  Jane Hirshfield’s “Close Reading: Windows” certainly takes its place among these important works, doing its part to help reveal the relevance and the significance of the turn in poetry today.