Praise for Previous Work: "A genre buster with an engaging prose style, Nelson interweaves psychoanalysis, personal memoir and true-crime tidbits into a darkly intelligent page-turner." -Time Out New York "Very rarely does a book come along that combines such extraordinary lyricism and ethical precision with the sense that the author is writing for her very life ... Nelson refuses complacency and pushes further into the unknown." -Annie Dillard
A lyrical, philosophical, and often explicit exploration of personal suffering and the limitations of vision and love, as refracted through the color blue. With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists.
Maggie Nelson is the author of numerous books of poetry and nonfiction, including Something Bright, Then Holes (Soft Skull Press, 2007) and Women, the New York School, and Other True Abstractions (University of Iowa Press, 2007). She lives in Los Angeles and teaches at the California Institute of the Arts.
|Edition description:||New Edition|
|Product dimensions:||4.90(w) x 7.90(h) x 0.40(d)|
Read an Excerpt
1. Suppose I were to begin by saying that I had fallen in love with a color. Suppose I were to speak this as though it were a confession; suppose I shredded my napkin as we spoke. It began slowly. An appreciation, an affinity. Then,
one day, it became more serious. Then (looking into an empty teacup, its bottom stained with thin brown excrement coiled into the shape of a sea horse) it became somehow personal.
2. And so I fell in love with a colorin this case, the color blueas if falling under a spell, a spell I fought to stay under and get out from under, in turns.
3. Well, and what of it? A voluntary delusion, you might say. That each blue object could be a kind of burning bush, a secret code meant for a single agent, an X on a map too diffuse ever to be unfolded in entirety but that contains the knowable universe. How could all the shreds of blue garbage bags stuck in brambles, or the bright blue tarps flapping over every shanty and fish stand in the world, be, in essence, the fingerprints of God? I will try to explain this.
4. I admit that I may have been lonely. I know that loneliness can produce bolts of hot pain, a pain which, if it stays hot enough for long enough, can begin to simulate, or to provoketake your pickan apprehension of the divine.
(This ought to arouse our suspicions.)
5. But first, let us consider a sort of case in reverse. In
1867, after a long bout of solitude, the French poet Stéphane
Mallarmé wrote to his friend Henri Cazalis:
“These last months have been terrifying. My Thought has thought itself through and reached a Pure Idea. What the rest of me has su‡ered during that long agony, is in-
describable.” Mallarmé described this agony as a battle that took place on God’s “boney wing.” “I struggled with that creature of ancient and evil plumageGodwhom
I fortunately defeated and threw to earth,” he told Cazalis with exhausted satisfaction. Eventually Mallarmé began replacing “le ciel” with “l’Azur” in his poems, in an effort to rinse references to the sky of religious connotations.
“Fortunately,” he wrote Cazalis, “I am quite dead now.”
6. The half-circle of blinding turquoise ocean is this love’s primal scene. That this blue exists makes my life a remarkable one, just to have seen it. To have seen such beautiful things. To find oneself placed in their midst.
Choiceless. I returned there yesterday and stood again upon the mountain.
7. But what kind of love is it, really? Don’t fool yourself and call it sublimity. Admit that you have stood in front of a little pile of powdered ultramarine pigment in a glass cup at a museum and felt a stinging desire. But to do what? Liberate it? Purchase it? Ingest it? There is so little blue food in naturein fact blue in the wild tends to mark food to avoid (mold, poisonous berries)that culinary advisers generally recommend against blue light,
blue paint, and blue plates when and where serving food.
But while the color may sap appetite in the most literal sense, it feeds it in others. You might want to reach out and disturb the pile of pigment, for example, first staining your fingers with it, then staining the world. You might want to dilute it and swim in it, you might want to rouge your nipples with it, you might want to paint a virgin’s robe with it. But still you wouldn’t be accessing the blue of it. Not exactly.
8. Do not, however, make the mistake of thinking that all desire is yearning. “We love to contemplate blue, not because it advances to us, but because it draws us after it,”
wrote Goethe, and perhaps he is right. But I am not interested in longing to live in a world in which I already live. I don’t want to yearn for blue things, and God forbid for any “blueness.”Above all, I want to stop missing you.
9. So please do not write to tell me about any more beautiful blue things. To be fair, this book will not tell you about any, either. It will not say, Isn’t X beautiful? Such demands are murderous to beauty.
10. The most I want to do is show you the end of my index finger. Its muteness.