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By Robert Wrigley

A robust new assortment from an award-winning poet Robert Wrigley has develop into one in all his generation's such a lot finished poets, popular for his irony, strength, and lucid kind and for his skill to fuse narrative and lyrical impulses. Like its namesake—Robert Burton's seventeenth-century exam of human options and emotions—Wrigley's new assortment capacity to envision our global throughout the lens of melancholia. From imagined battle memorials to insomniac chickens; from Descartes' misplaced daughter to a dreaming tree; from King Kong to hurry Limbaugh; and from Anna Karenina to a guy named Lucy Doolin (short for Lucifer), those are poems that elegize and rejoice that almost all attractive, exasperating, joyous, depressing, and completely imperfect of all creatures—the man or woman.

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Sample text

This innovative shift in the forms o f self-representation is obvious in the change o f terms used to describe the genre of autobiography. "48 As stated before, Domna Stanton’s definition o f "autogynography," however. 46 Cf. Timothy Dow Adams, Telling Lies in Modern American Autobiography (Chapel Hill: The U of North Carolina P, 1990); Alfred Homung and Emstpeter Ruhe, eds. Autobiographie & Avant-Garde (Tubingen: Narr, 1992); Darrel Mansell, "Unsettling the Colonel's Hash: 'Fact' in Autobiography," The American Autobiography: A Collection o f Critical Essays, ed.

Therefore, to express it in an extreme way, a woman can either adopt the given language and thus speak from a position o f marginality in the language o f the center and thereby put herself into a compromised situation that prevents her from clearly defining herself, or she can choose to remain in her position without any compromise, which implies that she will remain silent. H er alternatives are either symbolic (male) language or no language at all. . art, and particularly poetry, becomes the scene o f the confrontation between semiotic jouissance and the thetic .

The proclamation of the death o f the author, as discussed before, leads to a selfreferentiality o f the work o f art and to the consideration o f the text as authorless. "82 W om en writers, in particular women poets, who started to write in the 1950s and 60s, were aware of the discussion about the crisis o f the medium, about the "exhausted genre” for postmodern male writers. The metapoetical statements by Plath, Rich, and Lorde, however, do not emphasize writing as a means in itself, but focus on poetry’s potential for representation and its psychological and social functions.

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