julie goodspeed- chadwick The distinction between poiesis (i.e., poetic formation, making) and narration (i.e., telling or recounting) is elided in Ariel. The poetry within this collection presents a linked combination of poiesis and narration, prompting us to consider how the poetry might address epistemological or teleological issues pertaining to trauma and its representation in literature. This scenario arises out of a constellation of factors related to trauma, memory, and recollection. Along with the verity of real-life experience we encounter in Ariel, we also discover poetic fabrication as well as probable memory omissions in the poems.1 Yet the tenor or emotional intensity of the experience is captured in the formation or making of the poems, while the narrative quality of them attempts to serve as an anchor, grounding the emotional tenor in concrete images (i.e., the vehicle) that address or speak to memories. In Plath scholarship, especially with regard to Ariel, there will always be a fraught relationship between memory and trauma because we cannot ascertain the intimate autobiographical details of Plath's life, as her husband destroyed her last journal. The Ariel poems treat the memory of trauma, as we will note in "The Moon and the Yew Tree,"
Journal of Literature and Trauma Studies – University of Nebraska Press
Published: Jun 1, 2012
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