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Men in the Off Hours (Vintage Contemporaries)
 
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Men in the Off Hours (Vintage Contemporaries) (Paperback)

by Anne Carson (Author)
5.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Paperback: 176 pages
  • Publisher: Vintage Books USA; Reprint edition (Feb 2001)
  • Language English
  • ISBN-10: 0375707565
  • ISBN-13: 978-0375707568
  • Product Dimensions: 20.4 x 13.2 x 1.3 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 629,198 in Books (See Bestsellers in Books)

Product Description

Amazon.co.uk Review

Yes, consistency is the hobgoblin of small minds--and minor poets. The major ones tend to operate in a trough-and-peak pattern, producing a dozen lesser works for every masterpiece. Still, Anne Carson pushes this tendency to extremes, and nowhere more markedly than in Men in the Off Hours, which contains some of the best and worst lyrics of her entire career.

First, the good news: nobody has written more acutely about perception--about the chaotic collision of our senses with the real world--since the glory days of Wallace Stevens. Not that Carson echoes the airborne rhetoric of her great predecessor. Her fractured, zigzagging lines deliberately avoid the kind of gravity that was his trademark, and she likes to deflect the grand manner by ratcheting her diction upward (into Delphic utterance) or downward (into baby talk, if the baby happens to be Gertrude Stein). Still, like Stevens, she makes us think about how we think. We comprehend things only in flux and, as Carson explains in "Essay on What I Think About Most", by mistake:

what we are engaged in when we do poetry is error, the wilful creation of error, the deliberate break and complication of mistakes out of which may arise unexpectedness.
Now for the bad news: Men in the Off Hours includes too ample a serving of Carson's weaker, semiprecious work--short lyrics in which she bends over backwards for an antipoetic poetic effect (if such a thing is possible). "Epitaph: Europe" is precisely the kind of freeze-dried surrealism she should avoid. Still, Carson's blazing successes easily overshadow her failures. And those who have found her too recondite, too forbidding, need only take a look at the concluding poem, "Appendix to Ordinary Time". This elegy to the poet's mother is touching, emotionally direct, and completely original: an instant (to use a phrase Carson would probably loathe) classic. --James Marcus --This text refers to an out of print or unavailable edition of this title.

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3 of 3 people found the following review helpful:
5.0 out of 5 stars Poetry comes from a black lump within the body, 21 Jun 2006
By Christos Polydorou (Nicosia, Cyprus) - See all my reviews
What I love about her is that you can't pin her down. You can't say, Anne Carson is a Canadian poet who brings a freshness to poetry unseen since the pen of TSEliot. To say she is a scholar, a Classicist, a woman devoted entirely to her work, a genius, a poet who stuns us with words such as "treklizi", whose references are as diverse as Sappho, Anna Akhmatova, Edward Hopper, and Artaud, is not enough. The best of work, the finest of art, in her own words, "eludes discourse". Men In The Off Hours is the single most important book of the 21st century, and is as essential reading as "canonized works" (a phrase I am sure she dislikes) such as the Bible, Don Quixote, and Ulysees.
Nothing can be said about her except, she needs to be read.
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