Abstract

In 1992, Anne Carson published Short Talks, her first book of poetry. According to her, the book was initially conceived as a collection of drawings. In the process of its being creafted, however, the titles for these drawings gradually expanded until they became forty-five prose poems that ended up displacing the drawings from the final publication. Such displacement not only marked the beginning of a fruitful career, but also foreshadowed an enigmatic relationship which would be constantly addressed in her later work: that between drawing and writing. Even when Carson’s meditations on verbal and visual media are not constrained to the relationship between drawing and poetry, this connection is crucial to understanding her poetics, since, as she has stated many times, she considers her poems more as drawings than as texts. In this article, I embrace this interartistic provocation and, by analyzing poems from her work Men in the Off Hours (2000), I examine in which sense she considers her poems as drawings. The poems are read in the light of her theoretical proposals, especially the ones set out in her academic study, Economy of the Unlost (1999), in which she explores the relationship between visual arts and poetry.

摘要

1992 年，安妮卡森发表了《短谈》，她的第一本诗集。据她介绍，这本书最初被设想为一组图画。然而，在创作过程中，这些图画的标题逐渐扩大，直到它们变成了 45 首散文诗，最终取代了最终出版的图画。这种转移不仅标志着富有成果的职业生涯的开始，而且预示着一种神秘的关系，这种关系将在她后来的作品中不断得到解决：绘画和写作之间的关系。即使卡森对语言和视觉媒体的思考并不局限于绘画和诗歌之间的关系，这种联系对于理解她的诗学至关重要，因为正如她多次表示的那样，她认为她的诗歌更像是图画而不是文本。在这篇文章中，我接受了这种跨艺术的挑衅，并且，通过分析她的作品《业余时间的男人》（Men in the Off Hours，2000）中的诗歌，我研究了她在何种意义上将她的诗歌视为绘画。这些诗是根据她的理论建议来阅读的，尤其是她在学术研究中提出的建议，失落的经济（1999），其中她探讨了视觉艺术和诗歌之间的关系。