Heather McHugh & Herman Melville

Heather McHugh - born August 20, 1948, San Diego, California  

1 - McHugh: "The World Cannot Stop Moving"

In the poems of Heather McHugh, "the form of life / is a motion." Movement means change. Motion spurs emotion: "We move, we are moved. / It runs in the family. / For the life of us / we cannot stand to stay." 

The changes that motion embodies are constant, unpredictable. Someone is struck by lightning. "I'm different now forever," the person says. "My hair used to be straight. / My eyes -- you see? They're gray as ash. / They used to be light blue." Yet this singular experience applies to us all: "You live, // if you're lucky, but take my word -- // it changes how you look." 

McHugh's poems are sexy, and a lot of what's sexy about them is their quicksilver eroticism, their swift dark flow. Love is a dare, a risk of rushing into dangerous changes. The risk is irresistible:  "Give me a spike / in my EKG. The moment's meant / to jump, the moon returns, the drumhouse rolls us // all around." The world of constant motion is charged with sexuality, with life: "The river holds the sky and yet / they move."   

2 - Melville: Kennel Bound

The average Heather McHugh poem is better than the best Herman Melville poem. His poetry is mostly in his prose. The language of Moby Dick is as resourceful as great verse. Yet his poems are cautious, limp. They're exactly what you wouldn't expect. They're heartbreaking to read. They expose just how completely his setbacks broke him as a writer. But broke is too romantic a word. It's uglier than that. His work calcified. He went brittle, stiff. 

Earlier, from 1846 to 1857, he had chased his ambitions with violent dedication. The mixed reactions to Moby Dick , she disowns the confines of the confessional poetry of Lowell and Plath. She evades what she calls the "I-I-I-I-I" of their self-absorption. The poet has to slip outside herself. She must see from stances other than her own: "The single truth is simply / false; the truth is never more / than an example." 

Browning is self-conscious about his masks. He sets himself off from his creations so nobody will confuse him with them.

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Heather McHugh & Herman Melville

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