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In Sea Change, Graham’s principal manner of enacting swiftness and simultaneity is simply to proceed headlong, without apparent hierarchy or sorting, through a set of words (for possible actions, for instance), as they flash through the mind, imitating the alternative perspectives of possibility: Sometimes the devices she invents may not be long sustainable: she seems to have abandoned for the moment earlier attempts to render simultaneity of sense, thought, and event by means of brackets within brackets, or by short sentences so similar in syntax that they overlap as one reads them, like numbered stills in an ongoing film. Thinking of such an intersection of flesh and spirit, John Donne famously sums up its effects: “One might almost say, her body thought.”Īgainst the resistant separateness of words, and the even more resistant teleology of the sentence, Graham has found ways to render both rapidity and simultaneity. Writing that combines the constant fluctuation of the real and the intermingling of body and mind in all perception conveys truths, both external and internal, that are otherwise, in more sequential treatment, unattainable. Graham is fundamentally a poet of swiftness and simultaneity-the swiftness of both thought and time, the simultaneity of the sensous and the mental. Graham is an intellectual poet writing in a society hostile to intellectuality her range of reference and liberty of expression have sometimes baffled reviewers.
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And although Graham has confronted current issues (from perpetually alert B-52s to homelessness to colonialism) that distress a large number of Americans, a poem raising one of these issues, far from being predictable, is likely to include not only introspection but also myth (classical and religious) and historical instances of repellent or thrilling human action (from Inca sacrifice to Greek games at Delphi). They have of course revealed aspects of her life (as child, daughter, lover, wife, mother) as well as places where she has lived (Italy, France, the United States), but they take the form of montage rather than sequential narrative. It is true that one does not walk easily into her poems, since they are not, in the usual sense, openly confessional, political, or ideological. To some readers Graham has seemed difficult, diffuse, oblique, unnervingly changeable. Sea Change is Graham’s tenth volume of verse: it follows Hybrids of Plants and of Ghosts, Erosion, The End of Beauty, Region of Unlikeness, Materialism, The Errancy, Swarm, Never, and Overlord. Her books have been commented on, for the past quarter-century, in many reviews, articles, and chapters in books. She is published in England as well as in the United States, and her poetry has been widely translated in Europe.
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Jorie Graham, to many readers, is one of the most original American poets. And because elegy-including self-elegy-is one of the oldest themes in lyric poetry, how is a poet to make real the decline of the body and a final audit of the self’s endeavors? A triple grief-over the moral complicity in war, the entropic disorder of the world, and the coming death of the self-is what chiefly motivates Sea Change. Precisely because the war and climate change are on everyone’s lips, they are particularly recalcitrant to the imagination. The “sea change” noted with alarm here is a speeding-up, without apparent hindrance, of natural process, so that we feel that we are being pursued, like the dream-Arab of Wordsworth’s Prelude, by “the fleet waters of a drowning world.” And finally, the conviction that “you have/no rightful way//to live” wells up painfully in late middle age for a poet who remembers the idealism of adolescence, the hope invested in family life, and the uncertain imaginative project of fallible poetry. Every poet knows the impossibility of writing public rhetoric as such without personal imagination, but how is one to imagine oneself actively into a distant war as both invader and victim? The fear that “you have/no rightful way//to live” arises as well for Graham as for any citizen when contemplating our overconsumption of exhaustible natural resources. Any writer must wonder what to say when facing so many lives extirpated or damaged by our preemptive strike, so many conscienceless acts reported day by day. The apprehension springs in part from restless guilt concerning the ongoing American war, undertaken in our name by an elected president and an elected Congress. This is the apprehension hovering behind Jorie Graham’s new volume of poems, Sea Change.