I received an absolute treasure of a book in the mail this past week: Anne Carson’s new translation of Antigone (called Antigonick). The hardcover book is hand-lettered by Carson, and many of the pages of text are preceded by sheer vellum pages with gorgeous and beguiling illustrations by Bianca Stone. It is a beautiful, beautiful book. (There’s a good preview of it here.)
And I do not fully understand it. I don’t really understand many of the illustrations; I don’t always understand the changes Carson has made to the text. The effect is no less captivating.
This feeling is not isolated to Antigonick; I often feel a sense of disorientation from Carson’s work. Looking through some notes on Autobiography of Red (which I simply loved), I realize the same feeling occurred there: I was utterly puzzled by certain elements and choices. (Especially the final “interview” with Stesichoros–I would love to know how people read that.)
But I relish this feeling of confusion. Carson’s work is so deliberate and intoxicating, that each choice she makes feels like a stone to be worked over in the palm of the hand–slowly, slowly. Not many writers make me feel this way. More often, readerly confusion is indicative of sloppiness on the writer’s part, or else of ego and purposeful obfuscation. The confusion I feel reading Carson draws me in, rather than pushing me away.
So, Antigonick. Why that red spool of thread unwinding over a page that lists “Kreon’s nouns” (“Adjudicate Legislate Scandalize Capitalize”)? Why the domestic images of stove, kettle, rug when Kreon sentences Antigone to death? Why Kreon’s arrival by powerboat? Why, for that matter, Nick? I’ll confess, I don’t know. But I will keep turning those questions over and over in my mind, as I do with so many of her works.
Luckily, I now have a great excuse to spend a lot more time thinking about Carson’s writing, since my paper proposal for MLA13 was accepted. I’m looking forward to giving her work the serious attention it deserves.
[cross-posted at the Scholars’ Lab blog]
I’m happy to announce that a census of alternate academics, the first public-facing component of my work with the Scholarly Communication Institute, is now open to contributions. If you have graduate training in the humanities and work outside of the tenure track, I’d like to warmly invite you to add your information to the growing database. Not #alt-ac? Check out the report to learn more about who we are and what we do.
As I discussed in an earlier post, the census has a dual purpose: First, it will serve the many individuals who are employed in (or considering) alternate academic roles by showing the breadth and depth of career trajectories that can follow graduate work in the humanities. The resulting database may help people to discover others with shared interests, find potential project collaborators, or open up new lines of inquiry. Second, it serves as an important first step towards the survey that SCI will conduct, which aims at better understanding career preparation and #alt-ac employment in relation to humanities graduate programs.
I’d like the database to be as broad and truly representative as possible, which means I’ll need help in extending its reach. Please forward the link widely and encourage the #alt-academics you know to contribute–the database becomes more useful as more people join in.
This census is part of a suite of new content and features at #Alt-Academy; the announcement is restated below. Please read, contribute, and circulate!
We are very happy to announce a new phase of publication at #Alt-Academy, an open-access online project at MediaCommons. #Alt-Academy was launched last summer with 24 essays by 33 authors, highlighting the role of “alternative” academic professionals in the humanities and related fields. The four projects joining #Alt-Academy today promise to open the publication to an even richer and more diverse set of voices.
Please consider contributing to:
#Alt-Academy also welcomes proposals for further new clusters and features. For more information, see “How It Works” on our MediaCommons site.