Alan Williamson - Böcker

In Love and the Soul's title poem, a male speaker asks "not to believe/that what lights up the world from within is always the wrong thing" and is answered by a female speaker midway through the book who says "I don't think men and women/are meant to have relationships any more." Between these poles, Williamson's powerful collection explores the enormous burden of expectation that our culture has placed on love and its gifts to the soul.

This collection of poetry faithfully moves from the private to the publ ic, from individual experience to civic responsibility through an elegy for the 1960s and the world that has become our own. The meditative analysis is expanded, from introspection to the troubled psyche of Vietnam-age America. In poems like "La Pastorela" there is an overlay of classical and popular echoes, heightening personal reminiscences.

Alan Williamson artfully joins social and literary history with personal experience in The Pattern More Complicated, a collection of his very best poems over the last twenty years. A powerful section of new poems draws the whole work together in a kind of autobiographical novel, as—in Eliot's phrase, from which the title is taken—"the pattern of dead and living" grows "more complicated" with the years.  Williamson's verse is a refreshing examples of how delicately the personal can intersect with the public in a love for the considered life.The Pattern More Complicated assembles Williamson's most important, representative poems, marking the trajectory of poetic development and the recurrence of themes across the span of four previous collections to present a survey of a major American poet in a single volume.

Alan Williamson artfully joins social and literary history with personal experience in The Pattern More Complicated, a collection of his very best poems over the last twenty years. A powerful section of new poems draws the whole work together in a kind of autobiographical novel, as—in Eliot's phrase, from which the title is taken—"the pattern of dead and living" grows "more complicated" with the years.  Williamson's verse is a refreshing examples of how delicately the personal can intersect with the public in a love for the considered life.The Pattern More Complicated assembles Williamson's most important, representative poems, marking the trajectory of poetic development and the recurrence of themes across the span of four previous collections to present a survey of a major American poet in a single volume.

Assesses past and future generations of poets and examines the standards by which they should be measured

In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment—from the jaggedness of the later work of Robert Lowell to the montage—like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath.

Gender criticism, Alan Williamson argues, has for too long been shaped and limited by the same dualisms that have defined male versus female literary voices in Western culture. Certain emotions expressed in literature are considered ""feminine,"" certain emotions are typed as ""masculine,"" and there is little room in critical studies for the male writer who shares in feminine experience or who finds himself on the wrong ideological side of those firmly gendered dichotomies. Confined by such strict codes, male writers - homosexual, bisexual, or heterosexual - possessing the sensibilities typecast as feminine often face a crisis of gender identity. They struggle to overcome early childhood experience and adult cultural expectations as men with feminine creative emotions that are often repressed in more conventionally masculine lives. Almost a Girl challenges both feminist orthodoxy and men's movement thinking to show how several important male writers have drawn creative strength from their identification with, even envy of, a positive image of the feminine. Williamson opposes the feminist argument that men cannot really empathize with female experience, as well as the men's movement's insistence that female identification is common but psychically dangerous. As he explores the psychic confusion, even torment, and ambivalence toward women that accompanied their mixed gender identification, Williamson honors the works and imaginative courage of such diverse writers as Rainer Maria Rilke, Randall Jarrell, D. H. Lawrence, and Cesare Pavese.

Gender criticism, Alan Williamson argues, has for too long been shaped and limited by the same dualisms that have defined male versus female literary voices in Western culture. Certain emotions expressed in literature are considered ""feminine,"" certain emotions are typed as ""masculine,"" and there is little room in critical studies for the male writer who shares in feminine experience or who finds himself on the wrong ideological side of those firmly gendered dichotomies. Confined by such strict codes, male writers - homosexual, bisexual, or heterosexual - possessing the sensibilities typecast as feminine often face a crisis of gender identity. They struggle to overcome early childhood experience and adult cultural expectations as men with feminine creative emotions that are often repressed in more conventionally masculine lives. Almost a Girl challenges both feminist orthodoxy and men's movement thinking to show how several important male writers have drawn creative strength from their identification with, even envy of, a positive image of the feminine. Williamson opposes the feminist argument that men cannot really empathize with female experience, as well as the men's movement's insistence that female identification is common but psychically dangerous. As he explores the psychic confusion, even torment, and ambivalence toward women that accompanied their mixed gender identification, Williamson honors the works and imaginative courage of such diverse writers as Rainer Maria Rilke, Randall Jarrell, D. H. Lawrence, and Cesare Pavese.

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This book is a psychological reading, emphasizing Dante’s universality.  The Jungian concept of the “night journey,” the descent into the darkest areas of the self and of human nature, which is the precondition for spiritual growth, informs Dante’s journey through the three realms of the afterlife.  Personal testimony about despair and recovery stands side by side with detailed close readings of much-discussed passages.