Jacket 19 — October 2002 | # 19 Contents | Homepage | Catalog | |
Thomas Fink reviews
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In the ‘Prefatory’ of Arcady, his seventh book of poetry, Donald Revell sketches the situation out of which the poems grew. Following the sudden death of his ‘sister, [his] only sibling,’ Revell found that the sundering of their communication made his ‘native language lapse,’ only to be replaced by ‘vision,’ consolation in the ‘Arcadian’ ‘skies and treetops and distances’ of Poussin’s painting and their diminishment of narrative. He was also drawn to the notion of ‘vision’ of the natural world ‘without a task’ in Thoreau’s Walden. Indeed, narrative is secondary in the poems of Arcady — for example, in the opening poem, ‘Meant never to die,’ where a violent image of grief is placed against more hopeful and a few less determinate images: Meant never to die
Even when he makes the Dickinsonian claim, ‘Conforming to the fashions of eternity / I feel no conflict only one with prosperity,’ Revell is enthralled by the visionary potential of Thoreau and the other Transcendentalists and not by aspects of their work that lend themselves to social critique. If, for him, ‘Wild work / needs wilderness,’ this ‘wilderness’ is the often psychological effort to unify human beings and nature, to make the pathetic fallacy more than a fallacy: ‘From far away in the north / Uproar risings inseparable / Now from apple blossoms / Roar at my windows / And each is a real shrine. . . / Wild work grows over humans real moss.’ These assertions are eloquently phrased, but how can they have the force for information-age readers that they did for nineteenth century followers of the Transcendentalists? From an exclusively post-structuralist or Cultural Studies perspective, Revell’s preoccupation with privileged moments, with ‘Arcady,’ and the effort to let eternity ‘speak’ can be read as an evasion of history’s often bitter actualities. However, such terms and themes in the work may be intended as tropes for psychological states and for the interplay of human desires and frustrations. In ‘July 4th Blue Diamond,’ the poet holds that, ‘It is impossible / Not to suffer agonies / Of attachment the world / Is so wonderful’; given the prevalence of such ‘attachment’ and such ‘agonies,’ perhaps a visionary poetics can have value as a thought-experiment probing how ‘the poem’ might or might not ‘refresh life,’ as Wallace Stevens put it. I was born and grew
The ‘refreshment of life’ in Revell’s poetry has much to do, I believe, with what prophetic ‘eyesight’ cannot make transparent to us, with what resists the interpretation of whatever set of abstractions is present. Even more importantly, such refreshment involves the tense, bristling encounter between delightful assertions about ‘an instance of earth / Where earth is heavenly’ or, better yet, ‘a place. . . on / The whole horizon / Where it’s Heaven all the time,’ and the disruption of momentary credences in nature and ‘eternity,’ as in the long closing line of ‘Arcady (Added)’: ‘At morning at the Pyramids Paradise melts and pours into the air.’ |
Jacket 19 — October 2002
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