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The Beauty of the Husband: A Fictional Essay in 29 Tangos


The Beauty of the Husband: A Fictional Essay in 29 Tangos Cover

ISBN13: 9780375707575
ISBN10: 0375707573
Condition: Standard
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Reading Group Guide

1. The poem is dedicated to Keats, "for his general surrender to beauty." In his "Ode on a Grecian Urn," Keats concludes that "Beauty is truth, truth beauty,--that is all/ Ye know on earth, and all ye need to know." Clearly the speaker of The Beauty of the Husband knows a lot more than that, but she is not saved by her knowledge from the fatal beauty of her first love. The irony is that the beautiful husband is a liar, and his lies destroy the marriage. The speaker states, "Poets (be generous) prefer to conceal the truth beneath strata of irony/ because this is the look of the truth: layered and elusive" [p. 37]. How is Carson using irony in this poem?

2. Carson has appended a subtitle to this work; she calls it "a fictional essay in 29 tangos." What effect does the word "fictional" have? Is it a warning that readers are not to take this as an autobiographical story? Does it make a difference, in terms of emotional impact and reading pleasure, whether The Beauty of the Husband is true or not? Daphne Merkin has suggested that "a story line in any conventional sense is not what fuels Carson's writing--or what she cares about, except as it may enable her to ask the questions that interest her: to what avail are Parmenides and 'the true lies of poetry' when set against the 'welter of disorder and pain' that 'is our life'?" ("Last Tango." A review of The Beauty of the Husband. The New York Times Book Review, 9/30/01). How does The Beauty of the Husband read as a story? Does it share certain elements with fiction?

3. The wife in the poem says, "How do people/ get power over one another?" [p. 38], and later, "Why did nature give me over to this creature--don't call it my choice, / I was ventured: / by some pure gravity of existence itself,/ conspiracy of being!" [p. 49]. She also asks a related question: "What does not wanting to desire mean?" [p. 75]. These are crucial philosophic questions for the poem, and for the whole ideal of human self-determination. Does Carson suggest that people are helpless when in the grip of desire? Carson has written a book about the Greek concept of Eros; does she suggest that in fact a power like the god Eros still exists and can conspire to give one person over to another?

4. The wife states that her husband was "loyal to nothing," and yet she is "not ashamed to say I loved him for his beauty. / As I would again / if he came near" [p. 9]. This is essentially a romantic and aesthetic approach to life. What role, then, does the rational mind play in this drama?

For discussion of the work of Anne Carson:

1. In "Essay on What I Think About Most" Carson writes that she admires Alkman's poem because of "the impression it gives / of blurting out the truth in spite of itself" [p. 34]. Does the plain declarative style of Carson's verse give the same impression? She further states that Alkman's simplicity "is a fake / Alkman is not simple at all, / he is a master contriver" [Men in the Off Hours, pp. 34-35]. Might the same be said of Carson herself? What is simple about her work? What aspects of her work are complex, difficult, even impossible to comprehend? Are her contrivances part of an effort to alienate, or rather to seduce, the reader?

2. How does the work of Anne Carson change a reader's expectations about poetry--about what poetry is, what poetry does, the emotional and intellectual effects of poetry upon a reader? Is she asking us--or forcing us--to reevaluate our aesthetic criteria?

3. In a strongly positive review, Calvin Bedient makes a comment on Carson's work that might be read as a qualification: "Her spare, short-sentence style is built for speed. Her generalizations flare, then go out. Nothing struggles up into a vision, a large hold on things. The poems are self-consuming" (Calvin Bedient, "Celebrating Imperfection," a review of Men in the Off Hours. The New York Times Book Review, 5/14/00). Poets working in more traditional forms, like the sonnet for instance, have tended to create poems that work through a process of thought and arrive at a new conclusion or perspective; they offer the reader what Robert Frost called "a momentary stay against confusion." How does Carson's work differ from more traditional forms of poetry? Is it troubling or is it liberating that she doesn't seem bound to conclusions, to consoling gestures toward the reader?

4. The biographical note for The Beauty of the Husband offers only the statement, "Anne Carson lives in Canada." While it is a general rule in poetry that the speaker of any given poem is not necessarily the author and is often an invented persona, does Carson's work lead you to certain assumptions about the facts of her life, her habits, her intellectual world, her losses, her griefs? Does her work have a deliberately confessional aspect--like that of Robert Lowell or Anne Sexton--or is it difficult to tell with Carson what has actually been experienced and what has been imagined? What issues, experiences, and concerns are repeated throughout her work?

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Ayse, April 15, 2011 (view all comments by Ayse)
Nobody can make hurt as beautiful as Anne Carson can. I can't think of a poet who creates characters as well as she does, and without losing any of her poetic sensibility. These characters are sometimes cruel, often full of unsatiable longing, often maddening and yet recognizably, heart-breakingly human.
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Product Details

Carson, Anne
Carson, Anne
New York
American - General
Married people
Poetry-A to Z
Edition Description:
Trade paper
Vintage Contemporaries
Series Volume:
Publication Date:
Grade Level:
8 x 5.2 x 0.4 in 0.325 lb

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Related Subjects

Fiction and Poetry » Anthologies » Miscellaneous International Poetry
Fiction and Poetry » Poetry » A to Z

The Beauty of the Husband: A Fictional Essay in 29 Tangos Used Trade Paper
0 stars - 0 reviews
$10.50 In Stock
Product details 160 pages Vintage Books USA - English 9780375707575 Reviews:
"Review" by , "Montreal's Carson is, arguably, the hottest poet in the world. Here she displays her trademark deep erudition with an even deeper sense of life's (and love's) fragilities."
"Review" by , "Impressive....[Carson's] references to or quotes from the likes of Homer and Jane Austen and Beckett are kept in a vibrant present with infusions of a jazzy language that has come to define our age and our relationships....With swift strokes depicting the illusions and disillusions of a marriage gone sour, Carson has managed to make the intellectual life hip. In her hands, a quote from Plato seems as natural as a pop reference....Then there are the lines of sheer lyricism, lines that send us spinning back to idea of beauty, of truth....This new work, while resembling poetry, still has that edge, that charming threat of becoming at any moment something other than what we expect....A single light does not illuminate this volume. It is as though individual candles were strategically placed throughout the length of the marriage, highlighting essential moments....The Beauty of the Husband is an essential song, fully aware of all the perils and brave enough to play itself out."
"Review" by , "In Carson's most welcoming and intimate work to date, she loosens the robes of erudition that cloaked Men in the Off Hours in an aura of wry intellectualism. Here the tango provides inspiration for lashingly precise yet sultry and graceful poems that depict the eroticism and possessiveness, competition and resentment of a marriage in dissolution, a process envisioned as both an elaborate dance and vicious warfare....With Keats as her touchstone, Carson?audacious, funny, poised, and extraordinarily smart?considers our often contradictory needs for beauty and love....[A] piquant inquiry into the nature of desire far beyond familiar parameters."
"Review" by , "This poet's voice is so strange, so unique, so wholly her own that it seems a paradox that she already has such a wide audience. And the message of her seventh book is another paradox: that sexuality – both the body's intellect and the mind's desire – is thinking."
"Review" by , "In a few swiftly cut lines, her 29 tangos, Ms. Carson tells what might be seen as a pedestrian love story: a marriage, a divorce, a sad life left behind. But there is nothing pedestrian about the way her verse pierces the mind with a laserlike light."
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