By J. Vincent
Queer Lyrics fills a niche in queer reviews: the lyric, as poetic style, hasn't ever been without delay addressed by way of queer conception. Vincent makes use of formal issues, trouble and closure, to debate recommendations particular to queer American poets. He strains a family tree according to those queer ideas from Whitman, via Crane and Moore, to Ashbery and Spicer. Queer Lyrics considers where of shape in queer thought, whereas establishing new vistas at the poetry of those seminal figures.
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Extra resources for Queer Lyrics: Difficulty and Closure in American Poetry
Sample text
These effects undergird Whitman's suggestion that in worldly pursuits the poet is a mere shadow, but among good love and good song, the poet is secure in knowing that that is his shadow, but a shadow nonetheless. The final poem in the sequence, "Full of Life Now," serves as a "but" to the negation of "That Shadow My Likeness" as well, in a sense, to all of the negations and dematerializations that precede it in the cycle. l:i> 27 of the past and in the direction of the future (287). The first of two stanzas happens in a very specified time and place, a "now" at the moment of writing, "in the eighty-third year of the States ...
This note, Helms contends, points to a transparent connection between the group of poems that was to become the "Calamus" poems and Whitman's life. That is, the homoerotics in these poems have real and robust roots in lived experience. One can understand the impulse to make such a move in the face of homophobic insistence on proof of Whitman's sexuality. This proof is strangely but notoriously difficult to produce. As I mentioned in the Preface, Michael Lynch points out an excellent example of Whitman being both inside and outside the closet when he was asked for confirmation of his homosexuality by John Addington Symonds.
This speaker is neither a penetrative nor an acquisitive (the import of "comprehend") reader of others. The "ongoingness" of any story, this poem postulates, takes precedence over epistemic immanence. As Yingling suggests, cruising is the central node of this poem; eroticized encounters with strangers are both its literal and figurative ground. A reader who cannot imagine such encounters as they exist for real in gay lives, and thereby as a fantasmatic organizing principle for these meditations, cannot follow the arc of the poem as it moves from general ponderings on unnamable doldrums in life to specific cruisy strategizing around and about them.
