Critical Review 4
JordieAlbiston’s “Vertigo a cantata” Critical Review
Onecould think that a poetry collection entirely devoted to break-upcould appear lamentably repetitive or tedious however, JordieAlbiston guaranteed that each of the poems in “Vertigo a cantata”has a separate tone and distinctive vibrancy. This is a collectionone can continuously read repeatedly, since majority of it resonateswith a known experience of love and break-up. But to identify withthe thematic feel of the entire collection may not be the only thingthat compels a critical reviewer something to return to. “Vertigo acantata” also boasts with stirring lyrics.
Yetwith Albiston’s consistent variation in style and tempo, it has avoice that remains authentic, while she remains faithful to its wordswith rhythmical musicality (Albiston, 2007, p. 5). In every poem, itresults in a progression from depression and shock to compliance andacquiescence. The “Vertigo a cantata” succeeded in having itsstructure consisting of varied musical terms and thus intends to be aread with encompassing and catchy musical work. However, according toAlbiston (2007, p. 15), one does not require any past knowledge aboutItalian terminologies to comprehend Albiston’s success with wordsand overall intended purpose.
JordieAlbiston succeeded with the use of words with heavy meaning in orderto drive the point home. For instance, Albiston’s use of “dolente”and “campanello” has a deep meaning. It allows the reader to read“Vertigo,” while having a lyrical lilt in the back of their minds(Albiston, 2007, p. 16). The collection carries with them an emotionthat succeeds with having not only an establishment with commonstability across the world, but also with a representation ofprivate, structured madness attuned with any other person thathandles a tragedy comfortably. In addition, an individual thatmanages to recognize this means that “Vertigo a cantata” managesto initiate an instantiated kind of inevitability that bindssuccessfully the reader’s natural body with all the emotions of thecultured body.
Basedon “Vertigo’s” imagery, unexpected emotions, and imaginations,Fahey’s “The Wing Collection” focuses on a shift into the worldof imagination and visual art. Fahey’s offers ekphrastic poeticfeel in her work, and thus uses painting rather than the actual worldas a way of imagistic and imaginative departure (Fahey, 1996, pp.68). Fahey’s sections in “The Wing Collection,” the “Secretlives” compares with “Vertigo a cantata” in that it manages toelevate the reader into a kind of sphere that draws the in betweenpotentiality of an ecstatic space, and thus creates space betweenpassages of known and unknown from the image finitude.
Asit is seen in the ‘Arias #7,’ Jordie Albiston’s use of cadenceappears to be in alignment with the tides. This is handy as it lookslike her avid poetry leaders are fond of being reminded about theocean. It also appears that there is a trend that the poet likes toposition their work with or by the ocean. It may also be evident thatthe poet, while crafting some of the Arias, was at seashore at thetime of composition or conception (Albiston, 2007, p. 19). ‘Arias#7’ reveals Albiston’s emotions in regard to its flow and heroineebb, and even the crescendo, and thus the waves from the ocean appearto be an ideal place for the “Vertigo a cantata.”
Theimage created by the ocean would simply be more that a setting to herconception when viewed from a different perspective. The passionstirred from the sea and the end of the relationship is sure to beintertwined. Both feed off from one another, while turning outconfused for the each other. Albiston (2007, p. 25) cautioned thatsuch a case is a likelihood that the danger of drowning lingers, andat the same time, hope for rebirth.
Kantianaesthetics are explained with great clarity without having to engagein controversial areas, especially on humans related to objects(Kant, 1911, p. 123). These objects are includes common sense forbeauty or universal validity on aesthetic pleasure. The author’scommentary emphasizes on Kant’s unity thoughts throughoutaesthetics of judgement. One could think that “Vertigo, a cantata”is entirely devoted to break ups, and that it could become tedious orrepetitive lament however, Albiston ensured that every poem thatmakes up “Vertigo, a cantata” has a sense of uniqueness. Thisworks creates an urged to be read repeatedly considering a lotresonates with the universal experience about humanity and death. Itsthemes have a personal identification that makes it hard to compelthe reviewer on a return to his or her emotional recollection.
“Vertigoa cantata” managed to occupy a more paradoxical space only occupiedby powerful sets. The poet’s use of powerful words authoritativelymirrors power loss. It succeeded in evoking powerful romance, whileseeking for realistic universal effects through the reader.Albiston’s “Vertigo a cantata” seeks a way of expression ineliciting the most powerful of emotions, but in a more restrictive offorms (Albiston, 2007, p. 37). Its impact is felt because it lackssolemnity. This is because it has much humor, while the arc isappropriately crafted for having a musical work in place. Inaddition, Albiston managed to write “Vertigo, a cantata” in amanner that is intelligent and elegant, while elevating it to animportant addition of series, that proves to be of essential intoday’s literature.
Incomparison to the “Critique of the Aesthetic Power of Judgement,”there is a succession, especially when it is aligned with formalperfection and patterns of nature, which proves the critics wrongabout the presence of intelligent designers. Considering that Kantargues about the judgement of beauty, it should be noted that theexcerpt succeeds in eliciting a subjective feeling, even when itholds universal validity, partly because beauty is viewed to besubjective, and could therefor play on those that make the argumentfrom designs (Kant, 1911, p. 129). It is noted that beauty was basedon a subjective object. The question would automatically arise fromthe manner in which beauty has been objectified, and thus the excerptis criticized.
Inconclusion, Albiston’s “Vertigo a cantata” draws a lot fromvocal composition with the Italian word “cantata” meaning “tosing.” Its early days meant the collection only had one or twovoices, and thus the work went back to its roots. The grandness thatis the names used in various Arias insisted on the identity and alsoact as a reminder, not only for mere moods or events, but also on themelodic traditions used. Of various titles used in her collection,the poet used them as instructions about her feelings towards theaudience and their emotional landscape.
JackGilbert’s “Refusing Heaven” Critical Review
In“Refusing Heaven,” Jack Gilbert succeeded in the intimateassimilation of Eastern thinking than any other poet. In the excerpt,adopted stance or stylistic tactics are not placed there merely, butof insights by thoroughly living through them (Gilbert, 2005, p. 50).Through the watch by Wittgenstein, Gilbert (2005, p. 51) noted thatthe older poets go back to the same homecoming theme while they agegracefully. Jack Gilbert, more often the retrospect evident in hisbook, “Refusing Heaven,” his work managed to play into theproposition even though it remains provocative beyond the ambit. Thepaper therefore, is a critical review aimed at praising the author’saura of curiosity, and despite his grief over a woman, “Refusingheaven” managed to capture and intimate precision of a life livedwith struggles, delight, and alienation.
Tobegin with, the author prefers this life, a life with its ownstruggles, delights, and alienation, over any paradise. “Refusingheaven” is both a profound affirmation and rebellious assertionsabout the world and its aspects (Gilbert, 2005, p. 61). It alsobraces the readers of its heart and humanity. Jack Gilbert managed tolocate his work, “Refusing heaven” in what could be termed as theold haunts – the Greek islands, hotels in Paris, and in Italy.Putting that in mind, it is easy to scan the main subject matter,whose bridges are made of memory, lives lived, gazes broken, livesand lives lost, and the incantatory effects of solitude hard-won(Gilbert, 2005, p. 53).
Incomparison to Kant’s excerpt is regarded as that which emphasizeson historical stretch Kant’s critique establishes a new focus onthe subsequent positivity. The positivity plays an important role inthe establishment of the philosophy that goes beyond the author’sharmony issues, and perhaps more salient instances outside the paleepistemology issues. As much as the line created by the author is notstraight, his critique is a representation of a goal aimed atrehabilitating an embodiment of notions (Kant, 1911, p. 138). Herepresents a succession of his intentions towards phenomenologicalmovement on the aesthetics. Kant’s (1911, p. 142) defense on theexcerpt follows an inclusion of the post-Kantian sketch ofphilosophical history. The sketch is beneficial, especially for thoseindividuals seeking avenues to explore. In addition, it indicates aprofound impact and influence on the subsequent aesthetic as well asphilosophical thoughts.
Theauthor succeeded in eliciting an airy of nostalgia, which raised thehackles from the philosopher. Gilbert counters that it is the “havingand not the keeping that is treasured the most” (Gilbert, 2005, p.62). On his slow, it is evident that the author lavishes on simplelife, which resets the pace whereby majority of the people can relatewith, and therefore doubles up the return of its readers to remember.“Refusing heaven” insists on the current state of mind and memoryto perform its work in an inextricable manner. The poem is praisedsince it is chary in the underestimation of the link, whereby one caneasily absorb the pain without having to strictly trace it.
Backto the Eastern thinking, the mysticism of Buddhism and Taoism areaffirmed on life is coherently westernized instead. This is sobecause the poet does not always open a struggle towards therealization from the western mind point of view. The poem also drawsrelevance from the poet’s background that goes as far as the 1920sand 1930s. The poem is present-affirming, while looking back withelegiac heart voyages. “Refusing heaven” constantly and withdignity, searches on what Gilbert (2005, p. 62), would term as “forwhat becomes now and back then.”
Whichis viewed to be the actual search started back in the early 1930’swhen the poet revealed that his boat had been tethered on the ancientPittsburgh’s stone bridges. The poet successfully employed askillful paradox in “Refusing heaven” like a Zen helping him tobe labelled by his critics as a master. Gilbert’s “Refusingheaven,” in its retrospective position, coveys a philosophicaldistance, which relies equivocally, on abstractions (Gilbert, 2005,p. 72). As much as this may cause immediate losses in Gilbert’snarration, it is worth noting that “Refusing heaven” exemplifieswhat is described as philosophical richness of mind with was is seenas a life fully lived.
ForGilbert’s “Refusing heaven,” the voyage of the heart is notover yet, but it “wanders and lost in the invisible dark woods”(Gilbert, 2005, p. 64). His work is bright and with a lot of energyand truthfulness. The work is full of spontaneity and sparks, whichgrieves alone for the wounded and incidental world. The succeeded increating a compelling atmosphere coupled with passion and loneliness,which sometimes exudes surprises about life and its shortcomings andhappiness. In comparison to Gilbert’s “Refusing heaven,” JamesWright’s “Improvisations: The Poem as Journey” drawsdistinctive features and singular peculiarities with regard toatmospheric imagination the world over is characterized. The elementsaccounting for Wright’s voice and those which makes up hisinterests with universe is disparate enough to allow the ultimatecoherence. According to Wright (1995, 39), he regards imagination asa part of ruminative wombat. It denies apprehensive and perceptivecooperation between the world and humanity.
Intensivereading of Gilbert’s “Refusing heaven” elicits an aura that canonly be cut short following a powerful griefs as a result of thewomen mentioned to have died from cancer. Life is worth living afterGilbert’s work is worth embracing since it is capable of elicitingthe kind of grief, which can make a grown man to crawl since he canpresent it wholly (Gilbert, 2005, p. 63). “Refusing heaven”embraces subjective criticism since it can create images full cookingexpressions of both the spirit and life. Gilbert describes it as theGreek mountain side and Eastern feast that hacks off a face smearedwith heart blooming descriptions of solitude as food and drinkrepresenting a communion.
Thesurreal space created by “Refusing heaven,” which is somewhere inbetween the reality and a place of fantasy. The surreal place, whichis also outside our daily life experiences from our usual zones ofcomfort. This is a place that is likely to offer a glimpse of agreater sense of reality, which is the engine of our lives. Gilberthowever, fails to explain the significance of the title and why hechoose but was noted that there is a highly likelihood that the samething that is in front of us can easily be identified if one paysattention to it. In addition, the poem creates mystic inclinationswith the creation of personal myth taking an express of the visionthat Gilbert (2005, p. 61) noted to the emblem of individuals willingto distance themselves from interacting with poetic critics.
“Refusingheaven” shows the poet’s mills, which goes back to some hundredyears later, the titanic and forges of the soul’s heart. Thememories that is highly likely to be felt in the poem is that of theDepression era and Pittsburgh, which is a source, that not only is animagery touchstone, but is also a propulsive, driving line. “Refusingheaven” manages to establish a benchmark for a subjective criticismthat draws its examples form incidents in the poem (Gilbert (2005, p.69). This is because Gilbert’s use of imagery continues to elicitemotions from the critics, and thus manages to connect on everyconscious life moments with those of the readers and critics as awhole.
Subjectivecriticism is not based on the poet’s inability to erase memoriesfrom his childhood, but when he say that in Paris, the place he oncelived, is now gone, “Refusing heaven” fails to romanticize a factless agreeable by critics since it is a fact. The having and not thekeeping, it should be noted that when individual memories fail tomaterialize, memories are collectively lost. Of importance in“Refusing heaven,” is its ability to reveal interests that lie onsuccess and not failure.
Subjectivecriticism from the critics is not entirely on the failure or successof “Refusing heaven” as part of deceptive straightforwardness,but through lifetime perspective of every single moment. “Refusingheaven” succeeded in certain rules, which involved experiencing theheart and getting things down once the rules are of no interest(Gilbert, 2005, p. 51). This is because the poet regards life as anoutsider being the way it is as it is seen by Zen. In addition,“Refusing heaven” reserves awareness on the narrow reality thatis of more reality, especially when criticism is targeted towards areality accessible to human beings. Its success thus gives both thepoet and subjective critic certain sense of greater reality.
Subjectivecriticism towards “Refusing heaven” may be targeted towards thelack of wordplay. However, the poem succeeds with its use of free andshort verses. It is hard to recite it loudly however, the work ismuscular and rhythmic, but not with too much metrics (Gilbert, 2005,p. 52). It success is followed by a dialectic narrative technique,whereby the use of one image completes or counters the use ofanother, and thus brings out the live and a sense of reality. Thereis no settling of scores at this position, but criticism is far from“Refusing heaven” considering a remarkable sense of life’srealities is presented in a caricature of the critics’ overtime. Itis observed that spiritual ostentatious results in any type ofestrangement towards a deeper and greater self.
In comparison to Kant’s excerpt, which emphasizes on historicalstretch the critique establishes a new focus on the subsequentpositivity. The positivity plays an important role in theestablishment of the philosophy that goes beyond the author’sharmony issues, and perhaps more salient instances outside the paleepistemology issues. As much as the line created by the author is notstraight, his critique is a representation of a goal aimed atrehabilitating an embodiment of notions (Kant, 1911, p. 76). Herepresents a succession of his intentions towards phenomenologicalmovement on the aesthetics. Kant (1911, p. 81) defense on the excerptfollows an inclusion of the post-Kantian sketch of philosophicalhistory. The sketch is beneficial, especially for those individualsseeking avenues to explore. In addition, it indicates a profoundimpact and influence on the subsequent aesthetic as well asphilosophical thoughts.
Inconclusion, “Refusing heaven” succeeds in setting up the pace,while the generated pace is embraced by both critics and adversariesalike. Gilbert managed to scramble for auditory and haptic cues,which slows down the poet from writing against rapidity.Parenthetical counsel is best expressed through a pillage of workfrom profundity. Most of the “Refusing heaven” critical revieware based on the powerful passage, with significance drawn easilyfrom the pace of the living, and thus makes the world and itsrealities available.
ALBISTON,J. (2007). Vertigo:a cantata.[Elwood, Vic., Australia], John Leonard Press. 1-49
FAHEY,D. (1996). RevisionaryMythopoeist. A Woman’s Voice: Conversations with Australian Poets.By Jenny Digny. St. Lucia: University of Queensland Press pp. 68-85.
GILBERT,J. (2005). Refusingheaven: poems.New York, Knopf. pp.49-93
KANT,I. (1911). Kant`sCritique of aesthetic judgement.Oxford, Clarendon Press. pp. 121-148
WRIGHT,C. (1995). TheImprovisations: The Poem as Journey.Quarter Notes: Improvisations and Interviews. Ann Arbor: TheUniversity of Michigan Press, pp. 31-47