Kendrick

“Glück does not write confessionally about madness, suicide, and incest, as though these extreme experiences were a poet’s only access to reality. But she also does not reject the ideal of extremity; she merely denies that it has to be lived in order to be written about. She insists that it is not the content of experience which allows it to rise to the grandeur of myth, but the intensity the artist brings to it. If Glück is “against sincerity,” she is completely enthralled by authenticity, in just the sense that Lionel Trilling intended: an “extreme . . . exercise of personal will.” Her work is a tour de force of this kind of will.”
― Adam Kirsch, The Modern Element: Essays on Contemporary Poetry

“The courteous poet meets his ideal reader on conditions of equality. He approaches language as a medium of communication, which must be brought to a height of precision and eloquence in order to move and delight that reader. Concretely, this means that the courteous poet will try to make clear the subject or argument of the poem, its basic grammar and concepts. Reference and allusion will be used to deepen understanding, on the assumption that reader and writer share a common literary tradition. Formally, such a poet will naturally gravitate toward meter and rhyme, which knit the poem to the traditions of English verse and provide a pattern to guide the reader’s expectations. All this emphatically does not mean that the experience the courteous poet offers will be inoffensively pleasant. It means simply that the poet’s knowledge—even of extremity, perplexity, and tragedy—will be made available to the reader, so that it can be genuinely shared.

For the discourteous poet, by contrast, novelty and complexity are the fundamental values, both because they provide aesthetic pleasure and because they differentiate the poet from his predecessors. The reader does not need to be invited or seduced into the poem; his presence is either assumed or ignored. As a result, no effort is made to avoid confusion about the subject or argument of the poem; on the contrary, it is welcomed. The finished poem will not disclose the event or emotion that brought it into being, finding it more valuable to demonstrate the incommunicability of experience. Reference and allusion tend to be idiosyncratic and alienating, and form is conceived intellectually and theoretically rather than discursively or musically.”
― Adam Kirsch, The Modern Element: Essays on Contemporary Poetry

“Today, the poetics of authenticity is securely established. There have been isolated dissents from it, but no comprehensive rejection. Yet it should be clear by now that this poetics has thoroughly failed. It has made it more difficult for poets to produce major work, and its critical legacy is remarkable only for intellectual crudity and rhetorical violence. The sound of the critical madhouse is a thousand utterly authentic voices, all talking at once.”
― Adam Kirsch, The Modern Element: Essays on Contemporary Poetry