dialectic between the fragment and the whole is produced. Because that was the year DAgata was born. In navigating them, the reader (perhaps confused, perhaps delighted) becomes a stakeholder in their meaning. The interest in the lyric essay demonstrates that we have once again arrived at a moment when the distinction between prose and poetry does have meaning, but the boundaries we took for granted a few decades ago no longer suffice. But its obvious, once the music startsonce the girls open their throats and start holleringthat none of its really about him. Im not saying that the facts DAgata changed fell into the latter categorybut Im not sure I would trust myself, or anyone else outside of the story, to know the difference. But that doesnt mean they are innocent.
Pub lisher: Hobart William Smith College Press / Seneca Review Books; 1st edition.
In 1997, Seneca Review began publishing the lyric essay, creative nonf iction that borders on poetry, under the associate editorship of John D Agata.
Given its genre mingling, the lyric essay often accretes by fragments, takin.
On Newness Woolfs Death of a Moth conforms well to the Seneca Review description, with its musicality, its dependence on implication, and especially its reticent persona, who in direct contradiction to the persona of memoir, says nothing of her own life outside the minutes during. Do such verbs imply an anorexic refusal to expound? (This is, of course, the ultimate fiction.) (314) At its best, the lyric essay accurately locates the writer in the great soup of being the confusions of lived time, the jagged shape of thought, the betrayals and silences of the body. From the depths of mystery, and even from the heights of splendor, we bounce back and hurry for the latitudes of home (110). My ears did not quicken. On Fragmenting It is clear that not every literary essay partakes of the poem in its density and shapeliness, its distillation of ideas and musicality of language ( Seneca Review ).
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