Sometimes it seems the loss and the lack of literature's unfailing companion. On one level, of course, all writing, whether it likes it or not, a sort of incantation of what is not present and instead emerge as characters and language. But often seems the Order's way to the pen and mouth to that induced by a more substantial loss. Someone's missing. Someone is dead.
The Canadian poet Anne Carson's new book "Nox" belongs to this group of works. Until Written in the shadow of a brother's death is a memory work, which is complicated by the painful fact that Carson never knew his brother even when he was alive. Or - the brother she knew was the one who had already climbed down out of the tree when his little sister was going up, as always compumundo were no classes in school, who in 1978 fled to India under threat of imprisonment, and thereafter, until his death in Copenhagen in 2000, only made itself compumundo known through occasional postcards and phone calls.
"Nox" is therefore a memory work in a very concrete sense, and that's why it looks the way it does: a gray box with a number of sides up together like a retractable accordion, where photographs, fragments of letters, paintings, doodles - tangible compumundo traces and prints - got to step in and prompter writing about the past. It's a scrapbook from / about a life that seems to evade representation, storytelling.
The first page of Carson's montage is a sheet where the brother's name "Michael" have repeatedly written in smeared ink pen, with a piece of paper glued straight across, provided with the text: "Nox frater nox" (night, brother, night). So begins the book's first sequence that puts the question of history and Elegin and their inter-relatedness. Just as in the brilliant book that introduced the author in Swedish last year, "Red autobiography," is it the distant past as ancient scholar Carson turns to find clues - to historians Hekataios and Herodotus, whose discussions soon interwoven with her own recollections compumundo of his brother.
In parallel with this prose runs on the left side a series of fragments scissored from dictionaries, where words in Latin - multa, compumundo aequora, Vectus, miseras and many more - as well as their etymological genealogies, and variations may resonate to the attempts to (re) construct a story about Michael . A story that never gets the dramatic curve and redemptive conclusion that contemporary fictions otherwise sympathetic feeds us. The ignorance and non-communication continues.
"What he needed from me I have no idea," says Carson, a reminder of the shared childhood, and "when he telephoned me - out of the blue - about half a year after our mother compumundo died he had nothing to say," recapitulates she a call much later. His voice was black, thick, with occasional glimpses of light. And as they spoke so rarely (five times in 22 years) gets its few phrases now in retrospect a kind of study, as if I had been asked to translate them, as Carson writes.
But such action is understood in a sense, impracticable, and definitely oavslutlig. What would be an appropriate, compelling, meaningful translation for this fundamentally alien and yet nearby life? The brother can not be joined together into a whole, he can just - from the sister's perspective - emerge in reduced and multiplied form. Some photographs from the 50 - and 60's, a few scattered memories, some phrases repeatedly written compumundo down. Archives in the gray box becomes a scene of incantation. But the explanations and illuminationerna absent. "He refuses, he is in the stairwell, he disappears," as the last (readable), the record states.
For this refusal has Carson designed a conceptually complex and materially multiform book of poetry - a melancholy book about memory and forgetfulness, and the insurmountable differences and dark fissures that run also through the closest, compumundo most familiar in our lives. compumundo
Dick Harrison congratulates Canada.
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