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Autobiography of Red by Anne Carson
Book Summary InformationAuthor: Anne Carson Edition: Paperback Audio: English (Unknown); English (Original Language); English (Published) Published: 1998-08-01 ISBN: 037570129X Number of pages: 160 Publisher: Vintage
Book Reviews of Autobiography of RedBook Review: Only If One Has Wings Summary: 5 Stars
Classicist and poet, Anne Carson, has created a playful-but-tragic, present-tense, postmodern fable of obsessive love in her retelling of Stesichoros' "Geryoneis."For those unfamiliar with the classics, Stesichoros was a Sicilian Greek of the early classical era. Although little of his poetry has survived, we do know it was famous for both its extreme sweetness and its grandeur. In Carson's modern version of the Geryon myth, Herakles doesn't murder Geryon and steal his magic red cattle; he steals his heart instead. And in Carson's version, the theft of the heart may be quite a bit worse than outright murder, for, rather than dying outright, Geryon dies a little each day and his suffering is thus prolonged and made all the more difficult to endure. Since this is a present-tense, postmodern tale, Geryon doesn't, however, suffer in silence. He attempts, instead, as a young school boy (though still red and still winged--he presents his teacher with the myth of Geryon as his own autobiography), to create a new world and a new life for himself through his camera lens and through the redemptive qualities of his art. In this way, Geryon's demons are transformed through eroticism and become, if not something of beauty, then something that is, at least, worthwhile. Although this prose/poetry work is witty and playful, Carson's Geryon is still quite sad. Herakles is so definitely male and he loves Geryon in a stereotypically male manner, i.e., without really knowing the object of his love. Herakles seems out to have a good time and that is that. Although Geryon is red to his core, Herakles knows him so little that he even dreams of him in yellow. This upsets Geryon to the point of torment, who thinks, "Even in dreams he doesn't know me at all." One of the most interesting sections of this work occurs when Geryon, after some years, runs into Herakles (and his Peruvian lover, Ancash) in Buenos Aires. Herakles, Geryon and Ancash form a triangle that becomes a source of violence before it becomes a source of healing. Most interestingly, the village visited by this trio is a village of volcano-survivors who look upon Geryon and his red wings as godlike. But what I liked most about this section was Carson's amazing point and counterpoint. Her language is often profound, the language only the most poetic can write, yet in this section, especially, she juxtaposes that poeticism against the bizarre: a tango singer who just happens to be a psychoanalyst; a guerilla battle fought in the eye of a roast pig; and a surrealistic night flight over the peaks of the Andes with the passengers clutching toothbrushes and Herakles making love to Geryon under a blanket. Wow. Talk about creative. Carson pushes the medium of poetry beyond its conventional bounds and creates a profound meditation of loss, of rage, of sadness, of melancholy, of redemption...all seen through the camera lens of Geryon...and Eros. She filters love through photography, through sexual awakening, through volcanoes, through Emily Dickinsin and she does so in language that is tender, musical, funny, melancholy, witty, sensuous, poignant and downright brilliant. Is our beloved worth the pain? This is the question Carson seems to be asking in "Autobiography of Red." The answer might well be: Only if one has wings.
Summary of Autobiography of RedA NEW YORK TIMES NOTABLE BOOK OF THE YEAR National book Critics Circle Award Finalist
"Anne Carson is, for me, the most exciting poet writing in English today."--Michael Ondaatje
"This book is amazing--I haven't discovered any writing in years so marvelously disturbing." --Alice Munro
The award-winning poet Anne Carson reinvents a genre in Autobiography of Red, a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present.
Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is.
"A profound love story . . . sensuous and funny, poignant, musical and tender."--The New York Times Book Review
"A deeply odd and immensely engaging book. . . . [Carson] exposes with passionate force the mythic underlying the explosive everyday." --The Village Voice Anne Carson's Autobiography of Red is a novel in verse, the author's first. A classicist by profession as well as a poet, Carson has drawn on antiquity for her cast, updating the myth of Geryon and Herakles. In the original version, of course, Herakles killed the red-skinned, winged Geryon. In Carson's very contemporary retelling, he merely inspires, but does not return, the monster's passion. By choosing Geryon as her central character, Carson can bring up the questions of existence as if they hadn't been asked before. After all, the monster's instincts have not been numbed by civilization. Fires twist through him. We feel the pain of learning the most elementary things, and then the volcanic intensity that comes with that more advanced thing, love. Yet Carson doesn't so much tell the story of Geryon's love as mediate his very being through semiological surfaces: cafes, video stores, lipstick, a library where he shelves government documents with a "forlorn austerity, / tall and hushed in their ranges as veterans of a forgotten war." Carson seldom satisfies herself with an image of the world. Instead she atomizes the world, leaving it broken down, refracted, and glinting. At times her verbal pyrotechnics manage to render pure energy: A little button at the end of each range activated the fluorescent track above it. A yellowing 5 x 7 index card Scotch-taped below each button said EXTINGUISH LIGHT WHEN NOT IN USE. Geryon went flickering through the ranges like a bit of mercury flipping the switches on and off. The librarians thought him a talented boy with a shadow side. No novelist could have gotten away with that last line. Yet it's very much to the point: Carson's Geryon is, among other things, a camera freak who doesn't understand that an observer must inevitably alter the nature of the thing observed. Here is Heisenberg's uncertainty principle, cheek-by-jowl with the ancients! And indeed, Carson's achievement is to interweave the archaic and the modern so seamlessly that by the time we finish reading Autobiography of Red, the entire landscape looks inside out. --Mark Rudman
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