Transatlantic Elegies: Dunn and Hall

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Donald Hall’s keen observations on grief in Without had a profound impact on my understanding of the possibilities of elegiac poems. Since relocating to London, Douglas Dunn’s slim volume Elegies has deepened my understanding of the form, and some of its specific cultural implications. Both collections were written in the wake of the poet’s wife’s death from cancer. And each, in its way, is a remarkable achievement of transcending loss to make art. But here the similarities end, and certain differences — ones I find illustrative of the subtle divide in Anglo-American poetics — begin.

Whereas Hall’s poems are largely confessional, Dunn’s might be called archaeological. Taking the first poems from each book as examples, we find in “Her Long Illness” an account in the third-person that is none-the-less told in scene, revealing intimate details of the couple’s final moments together. By contrast, Dunn’s “Re-Reading Katherine Mansfield’s Bliss and Other Stories” takes us through an examination of the stains on a book’s pages, invokes Robert Frost’s “A Considerable Speck” in addressing a fly, and only obliquely touches on the matter of grief itself in the final words of the poem: “one dry tear punctuating ‘Bliss’.”

Some of this stems from the vantage point taken up by the speaker — whereas Hall is re-living experience, going back to the hospital scenes in his mind, Dunn is reflecting, rooted in the present, casting forward and back. How each poet chooses to reflect or relive, however, and the effect this produces in the poems, brings colour to certain value differences between the two poetics.
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Elegy

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Joe Millar’s talk on the elegy this morning slit me open like a fish. Loss was one motivator for committing to my writing in a greater way by undertaking this MFA, and the possibilities he opened up in this ancient form — not to mention his analysis of the psychological and mythical dimensions — have my head spinning.

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