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]

A short lyric can be an ingenious device, a clever mechanism, an engine for generating multiple meanings – that’s the first axiom of my argument. The second axiom is that all truly great poetry is, at some level, about poetry itself (if not about the individual poem itself). Robert Bernard Hass’ “The Metaphysics of Presence,” which was published in the December 2023 issue of Poetry magazine, is an exemplary example of both of these aforementioned principles; a lyric that ironically draws attention to itself, to “Your hipster cynical voice” and to “clever puns,” but in the deferral between ultimate meaning and surfaces suggests a far more profound, if ineffable, lesson than the playfulness which the work itself initially implies.
The title of the work is consciously foreboding, with “The Metaphysics of Presence” sounding as if something that would be emblazoned on the spine of a door-stopper of continental philosophy. It’s not incidental, however, for that’s precisely and literally what Hass’ poem is concerned with, which is to say the relationship between what language represents and the thing-in-itself, between the sign and signified, the presence and the inevitable absence of words falling short of ultimate reality. To that end, “The Metaphysics of Presence” is a love poem. Hass even says so, writing in as straightforward a manner as is conceivable at the tenth line that “You’re in the presence of a love poem,” which is both accurate and not, and an example of a literal declaration in a poem that has fun with the incommensurability of literal declarations all while gesturing to something that lay beyond language. Read more »





In an attempt to understand my relationship to the Italian-American identity, I recently began watching episodes of The Sopranos, which I avoided when it first aired twenty-five years ago. I was on a nine-month stay in New York at the time, living in a loft on the Brooklyn waterfront, and I remember the ads in the subways—the actors’ grim demeanors; the letter r in the name “Sopranos” drawn as a downwards-pointing gun. I’ve always been bored by the mobster clichés, by the romanticization of organized crime: as an entertainment genre, it’s relentlessly repetitive, relies on a repertoire of predictable tropes, and it has cemented the image of Italian Americans we all, to one degree or another, carry around with us. But the charisma of Tony Soprano, played by James Gandolfini, exerts an irresistible pull: I jettison my critical abilities and find myself binge-watching several seasons, regressing for weeks at a time, losing touch with what I was hoping to find.

I was listening to “
Sughra Raza. Random Street Composition While Walking Home, March 2, 2024.









