by Ed Simon
Demonstrating the utility of a critical practice that’s sometimes obscured more than its venerable history would warrant, my 3 Quarks Daily column will be partially devoted to the practice of traditional close readings of poems, passages, dialogue, and even art. If you’re interested in seeing close readings on particular works of literature or pop culture, please email me at [email protected]
The shortest lyric in Natalie Diaz’s 2013 collection When My Brother Was an Aztec has two less words than its title does. At only five words, the poem “The Clouds are Buffalo Limping Towards Jesus” is, because of its length, an incongruous entry in the collection, which for the most part combines more conventional quasi-formal and free verse that ranges from a few dozen lines to a few pages. Brevity is, of course, not necessarily a marker of radicalism; after all, the lyric as a form was originally defined not just by a strong individual voice, but also by representing a brief observation or emotion rather than a narrative with epic scope. The traditional Japanese genres of haiku, sijo, and tanka are marked by an economy of precision, but in the West even that most venerable form of the sonnet makes its argument and takes its logical turn in a short fourteen lines. Then there are the poets with a reputation for parsimony, masters of concision such as Emily Dickinson or Edna St. Vincent Millay. Still, a short Millay work such as “First Fig” (“My candle burns at both ends.”) with its four lines and twenty-five words might as well be the Iliad; a Dickinson lyric such as “Poem 260” (“I’m Nobody! Who are you?”) at eight lines and 42 words is a veritable Odyssey when compared to Diaz. When a poem counts in at under a dozen words, or even under half-a-dozen, there is a suspicion that the poet is courting the gimmick more than anything, the purview of the limerick and bawdy lyric, of Strickland Gillian’s “Lines on the Antiquity of Microbes,” which has been claimed as the briefest poem in the language, reading in its entirety “Adam/Had ‘em.” Read more »