Concrete Images = Better Images
Ryan's poetry is effective because it uses so little to say so much. One thing that distinguishes poetry from prose is the ability to read a poem and leave with one specific phrase or image that encompasses much more--I think that these lines from "Outsider Art" are a good example:
Most of it's too dreary
or too cherry red.
If it's a chair, it's
covered with things
the savior said
or should have said--
dense admonishments
in nail polish
too small to be read.
Once again, Ryan takes a very specific image--a red chair with words written on it--and describes it in a memorable way. The contrast of "dense admonishments" and "too small to be read" is especially interesting; usually if something is too small to be read, then no one bothers. When it is placed on an object that usually does not have writing, then suddenly it becomes much more interesting. We've all noticed random (though pithy) writings on everyday objects, but Ryan takes the next step to point them out to the reader. If a poet can use tightly woven images that are very concrete, then portraying the occassion/intent to the reader becomes much easier. Ryan’s repitition of the red/said sounds makes adds rhythm, too.
Even when Ryan addresses abstract themes, she still uses few words and specific, concrete imagery. For example, in the poem "Hope" (a very abstract title), she likens hope to "the almost-twin of making do" and "the isotope of going on." Isotope is a scientific choice--one that usually is not associated when hope. I think this is why the comparison is effective: pairing hope with something unexpected makes it much more memorable and thought-provoking. Ryan certainly uses the unexpected, in syntax and diction, as a means for fresh poetry.
Most of it's too dreary
or too cherry red.
If it's a chair, it's
covered with things
the savior said
or should have said--
dense admonishments
in nail polish
too small to be read.
Once again, Ryan takes a very specific image--a red chair with words written on it--and describes it in a memorable way. The contrast of "dense admonishments" and "too small to be read" is especially interesting; usually if something is too small to be read, then no one bothers. When it is placed on an object that usually does not have writing, then suddenly it becomes much more interesting. We've all noticed random (though pithy) writings on everyday objects, but Ryan takes the next step to point them out to the reader. If a poet can use tightly woven images that are very concrete, then portraying the occassion/intent to the reader becomes much easier. Ryan’s repitition of the red/said sounds makes adds rhythm, too.
Even when Ryan addresses abstract themes, she still uses few words and specific, concrete imagery. For example, in the poem "Hope" (a very abstract title), she likens hope to "the almost-twin of making do" and "the isotope of going on." Isotope is a scientific choice--one that usually is not associated when hope. I think this is why the comparison is effective: pairing hope with something unexpected makes it much more memorable and thought-provoking. Ryan certainly uses the unexpected, in syntax and diction, as a means for fresh poetry.
posted by Lauren at 10:22 AM
1 Comments:
very true about ryans poetry using little to say alot. I think its interesting how she can use a specific image, or several in her longer poems, to convey a certain idea. this particular idea and its neccessity seem to be reemphasized by her tight stanzas and overall brevity of many of her poems---she really seems to get right to the point in what it is she has to say.
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