The Forest

by Susan Stewart

Overview

Susan Stewart plumbs human history in an attempt to articulate the way language, memory, and art join in evoking consciousness. The Forest is about violence and memory: the violence we do to our surroundings and to ourselves; and the propensity of the human mind to exploit and rationalize in its longing for truth.

Product Details

ISBN-13:	9780226774091
Publisher:	University of Chicago Press
Publication date:	09/01/1995
Series:	Phoenix Poets
Edition description:	1
Pages:	86
Product dimensions:	6.00(w) x 8.50(h) x 0.50(d)

About the Author

Susan Stewart is the Avalon Foundation University Professor in the Humanities and director of the Society of Fellows in the Liberal Arts at Princeton University. A former MacArthur fellow, she is the author of five earlier critical studies, including Poetry and the Fate of the Senses (2002), winner of the Christian Gauss award of the Phi Beta Kappa Society and the Truman Capote Award. She is also the author of five books of poems, most recently Red Rover (2008) and Columbarium (2003), winner of the National Book Critics Circle Award. These titles, along with The Open Studio (2005) and The Forest (1995), are all published by the University of Chicago Press. 
 
 
 
 

Table of Contents

Acknowledgments
("What haunts...")
The Forest
Slaughter
1931
1936
The Arbor 1937
The Violation 1942
The Gypsy 1946
The Coincidence 1956
The Spell
(We needed fire...)
Holswege
Nervous System
Medusa Anthology
May 1988
Lamentations
The Desert 1990-1993
The Meadow
Notes

Editorial Reviews

An aura of mystery envelops Stewart's (The Hive) third collection of poetry. As she expresses it: "...Bright night, true story, far torch and door;/ neither yours nor mine, but both..." Narratives, often rooted in history and reminiscent of fairy tales, are told by unnamed speakers and peopled by figures that can't be pinned down. "Slaughter," a first-person account of learning to butcher, masterfully permits readers to identify with an invisible narrator pitted against an even more fleeting but all-powerful "they." Stewart stumbles slightly when she becomes self-consciously literary: as her endnotes inform us, "Nervous System" borrows its rhyme scheme from John Donne; the extremely weak, overly long "Medusa Anthology" uses language from Shakespeare and Gerard Manley Hopkins. Her own linguistic sensibility is refined enough not to require such academic justification, which also seems to curb her imagination. These few examples aside, this volume is a rare phenomenon in recent poetry: poems which require several readings, and promise to be equally intriguing each time. (Aug.)

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