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American Elegy
The Poetry of Mourning from the Puritans to Whitman
Max Cavitch
University of Minnesota Press, 2007
The most widely practiced and read form of verse in America, “elegies are poems about being left behind,” writes Max Cavitch. American Elegy is the history of a diverse people’s poetic experience of mourning and of mortality’s profound challenge to creative living. By telling this history in political, psychological, and aesthetic terms, American Elegy powerfully reconnects the study of early American poetry to the broadest currents of literary and cultural criticism.Cavitch begins by considering eighteenth-century elegists such as Franklin, Bradstreet, Mather, Wheatley, Freneau, and Annis Stockton, highlighting their defiance of boundaries—between public and private, male and female, rational and sentimental—and demonstrating how closely intertwined the work of mourning and the work of nationalism were in the revolutionary era. He then turns to elegy’s adaptations during the market-driven Jacksonian age, including more obliquely elegiac poems like those of William Cullen Bryant and the popular child elegies of Emerson, Lydia Sigourney, and others. Devoting unprecedented attention to the early African-American elegy, Cavitch discusses poems written by free blacks and slaves, as well as white abolitionists, seeing in them the development of an African-American genealogical imagination. In addition to a major new reading of Whitman’s great elegy for Lincoln, “When Lilacs Last in the Dooryard Bloom’d,” Cavitch takes up less familiar passages from Whitman as well as Melville’s and Lazarus’s poems following Lincoln’s death. American Elegy offers critical and often poignant insights into the place of mourning in American culture. Cavitch examines literary responses to historical events—such as the American Revolution, Native American removal, African-American slavery, and the Civil War—and illuminates the states of loss, hope, desire, and love in American studies today.Max Cavitch is assistant professor of English at the University of Pennsylvania.
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Coming Out of War
Poetry, Grieving, and the Culture of the World Wars
Janis P. Stout
University of Alabama Press, 2005

World War I is widely considered “the Great War” and World War II, “the Good War.” Janis Stout thinks of them as two parts of a whole that continues to engage historians and literary scholars searching for an understanding of both the actual war experiences and the modern culture of grief they embody. In Coming Out of War: Poetry, Grieving, and the Culture of the World Wars Stout argues that poetry, of all the arts, most fully captures and conveys those cultural responses.

While probing the work of such well known war poets as Rupert Brooke, Wilfred Owen, and Randall Jarrell, Stout also highlights the impact of the wars on lesser studied, but equally compelling, sources such as the music of Charles Ives and Cole Porter, Aaron Copland and Irving Berlin. She challenges the commonplace belief that war poetry came only from the battlefield and was written only by men by examining the wartime writings of women poets such as Rose Macaulay, Marianne Moore, Elizabeth Bishop, and Gwendolyn Brooks. She also challenges the assumption that World War II did not produce poetry of distinction by studying the work of John Ciardi, Karl Shapiro, Louis Simpson, Robert Frost, and Wallace Stevens. While emphasizing aesthetic continuity between the wars, Stout stresses that the poetry that emerged from each displays a greater variety than is usually recognized.

A final chapter considers Benjamin Britten’s War Requiem as a culmination and embodiment of the anti-war tradition in 20th-century poetry and music, and speculates on the reasons why, despite their abundance and eloquence, these expressions of grief and opposition to war have effected so little change.
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Companionship in Grief
Love and Loss in the Memoirs of C. S. Lewis, John Bayley, Donald Hall, Joan Didion, and Calvin Trillin
Jeffrey Berman
University of Massachusetts Press, 2010
In Companionship in Grief, Jeffrey Berman focuses on the most life-changing event for many people—the death of a spouse. Some of the most acclaimed memoirs of the past fifty years offer insights into this profound loss: C. S. Lewis's A Grief Observed; John Bayley's three memoirs about Iris Murdoch, including Elegy for Iris; Donald Hall's The Best Day the Worst Day; Joan Didion's best-selling The Year of Magical Thinking; and Calvin Trillin's About Alice. These books explore the nature of spousal bereavement, the importance of caregiving, the role of writing in recovery, and the possibility of falling in love again after a devastating loss. Throughout his study, Berman traces the theme of love and loss in all five memoirists' fictional and nonfictional writings as well as in those of their spouses, who were also accomplished writers. Combining literary studies, grief and bereavement theory, attachment theory, composition studies, and trauma theory, Companionship in Grief will appeal to anyone who has experienced love and loss. Berman's research casts light on five remarkable marriages, showing how autobiographical stories of love and loss can memorialize deceased spouses and offer wisdom and comfort to readers.
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Cultural Melancholy
Readings of Race, Impossible Mourning, and African American Ritual
Jermaine Singleton
University of Illinois Press, 2015
A daring cultural and literary studies investigation, Cultural Melancholy explores the legacy of unresolved grief produced by ongoing racial oppression and resistance in the United States. Using acute analysis of literature, drama, musical performance, and film, Singleton demonstrates how rituals of racialization and resistance transfer and transform melancholy discreetly across time, consolidating racial identities and communities along the way. He also argues that this form of impossible mourning binds racialized identities across time and social space by way of cultural resistance efforts.

Singleton develops the concept of "cultural melancholy" as a response to scholarship that calls for the separation of critical race studies and psychoanalysis, excludes queer theoretical approaches from readings of African American literatures and cultures, and overlooks the status of racialized performance culture as a site of serious academic theorization. In doing so, he weaves critical race studies, psychoanalysis, queer theory, and performance studies into conversation to uncover a host of hidden dialogues—psychic and social, personal and political, individual and collective—for the purpose of promoting a culture of racial grieving, critical race consciousness, and collective agency.

Wide-ranging and theoretically bold, Cultural Melancholy counteracts the racial legacy effects that plague our twenty-first century multiculture.

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Euripides and the Poetics of Sorrow
Art, Gender, and Commemoration in Alcestis, Hippolytus, and Hecuba
Charles Segal
Duke University Press, 1993
Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art.
Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater.
Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.
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Grief and the Hero
The Futility of Longing in the Iliad
Emily P. Austin
University of Michigan Press, 2021

Grief and the Hero examines Achilles’ experience of the futility of grief in the context of the Iliad’s study of anger. No action can undo his friend Patroklos’ death, but the experience of death drives him to behave as though he can achieve something restorative. Rather than assuming that grief gives rise to anger, as most scholars have done, Grief and the Hero pays close attention to the poem’s representation of the origin of these emotions. In the Iliad, only Achilles’ grief for Patroklos is joined with the word pothê, “longing”; no other grief in the poem is described with this term. The Iliad depicts Achilles’ grief as the rupture of shared life—an insight that generates a new way of reading the epic. Achilles’ anguish drives him to extremes, oscillating between self-isolation and seeking communal expressions of grief; between weeping abundantly and relentlessly pursuing battle; between varied threats of mutilation, deeds of vengeance, and other vows. Yet his yearning for life shared with Patroklos is the common denominator. Here lies the profound insight of the Iliad. All of Achilles’ grief-driven deeds arise from his longing for life with Patroklos, and thus all of these deeds are, in a deep sense, futile. He yearns for something unattainable—undoing the reality of death. Grief and the Hero will appeal not only to scholars and students of Homer but to all humanists. Loss, longing, and even revenge touch many human lives, and the insights of the Iliad have broad resonance.

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Melancholy Dialectics
Walter Benjamin and the Play of Mourning
Pensky Max
University of Massachusetts Press, 2001

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Poetry of Mourning
The Modern Elegy from Hardy to Heaney
Jahan Ramazani
University of Chicago Press, 1994
Called the "mother of beauty" by Wallace Stevens, death has been perhaps the favorite muse of modern poets. From Langston Hughes's lynch poems to Sylvia Plath's father elegies, modern poetry has tried to find a language of mourning in an age of mass death, religious doubt, and forgotten ritual. For this reason, Jahan Ramazani argues, the elegy, one of the most ancient of poetic genres, has remained one of the most vital to modern poets.

Through subtle readings of elegies, self-elegies, war poems, and the blues, Ramazani greatly enriches our critical understanding of a wide range of poets, including Thomas Hardy, Wilfred Owen, Wallace Stevens, Langston Hughes, W. H. Auden, Sylvia Plath, and Seamus Heaney. He also interprets the signal contributions to the American family elegy of Robert Lowell, Allen Ginsberg, Anne Sexton, John Berryman, Adrienne Rich, Michael Harper, and Amy Clampitt. Finally, he suggests analogies between the elegy and other kinds of contemporary mourning art—in particular, the AIDS Memorial Quilt and the Vietnam Veterans Memorial.

Grounded in genre theory and in the psychoanalysis of mourning, Ramazani's readings also draw on various historical, formal, and feminist critical approaches. This book will be of interest to anyone concerned with the psychology of mourning or the history of modern poetry.

"Consists of full, intelligent and lucid exposition and close reading. . . . Poetry of Mourning is itself a welcome contribution to modern poetry's search for a 'resonant yet credible vocabulary of grief in our time."—Times Literary Supplement
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