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Gardner, areas of Unlikeness, 230. eleven. Ibid. 12. Ibid. , 233, 235. thirteen. From virtually the beginning, Graham has discovered a champion in Helen Vendler. See Vendler’s Soul Says: On contemporary Poetry (Cambridge, Mass. : Belknap Press of Harvard college Press, 1995), 212–256; The Breaking of fashion: Hopkins, Heaney, Graham (Cambridge, Mass. : Harvard college Press, 1995), 71–95; and The Given and the Made: concepts of Poetic Redefinition (Cambridge, Mass. : Harvard college Press, 1995), 84–130. 14. James Merrill, amassed Poems (New York: Knopf, 2001), 185. 15. John Ashbery, chosen Poems (New York: Viking, 1985), 2 hundred. sixteen. Elaine Scarry, “Counting at nightfall (Why Poetry concerns whilst the Century Ends),” in Elaine Scarry, ed. , Fins de Siècle: English Poetry in 1590, 1690, 1790, 1890, 1990 (Baltimore: Johns Hopkins collage Press, 1995), 25. 166 Willard Spiegelman 17. See Adrienne Rich’s 1966 poem, “Necessities of Life,” in accumulated Early Poems (New York: Norton, 1993), 205, for one more instance of the relation among oozing or melting in portray and fluctuations in own identification; for wealthy, all barriers are—or have been at that time in her work—permeable. i've got already mentioned interruption as a structural, formal, and thematic machine within the paintings of James Merrill. See “Breaking the reflect: Interruption within the Trilogy,” in David Lehman and Charles Berger, eds. , James Merrill: Essays in feedback (Ithaca: Cornell college Press, 1982), 186–210. What D. H. Lawrence some time past often called the breakdown of the previous strong ego has produced the most attention-grabbing poetic experiments of the earlier 4 a long time. 18. Ashbery, 195. 19. See Nemerov, “For Robert Frost, within the Autumn, in Vermont,” 405, at the trope of the fallen leaves. 20. Thomas Gardner, “Accurate disasters: The paintings of Jorie Graham,” The Hollins Critic 24, no. four (October 1987): 2. 21. Ibid. , 6. 22. See Bonnie Costello, “Jorie Graham: artwork and Erosion,” modern Literature 33 (1992): 373–395, for a dialogue of how the poems in Erosion enact a modernist obstacle with aesthetic wholeness. 23. M. H. Abrams, “Structure and elegance within the higher Romantic Lyric,” in Frederick W. Hilles and Harold Bloom, eds. , From Sensibility to Romanticism (New York: Oxford college Press, 1965), 527–560. L angdon H ammer corridor of Voices: Richard Howard I n a 1973 essay on Emily Dickinson, given satisfaction of position because the first piece in Paper path, Richard Howard meditates at the impulse to normalize Dickinson’s eccentricities of presentation and sensibility. Mischievously, he proposes that we see these eccentricities as analogous to “perversions. ” “It used to be Freud,” he writes, “who first taught us perversion is the other of a neurosis, that homosexuality, for example, isn't really an issue however the approach to an issue. ” He is going directly to clarify what this may suggest for a reader: “The one generalization I should still care to endanger as to how we should always reply to literature is that after we're troubled—bored, provoked, offended—by attribute positive aspects of a writer’s paintings, it really is accurately these positive factors which, if we yield to them, if we deal with them as value instead of as illness, will become that writer’s way to his personal difficulties of composition and utterance.