The Lyric Essay, Mixed Genre, and the Mother - Anomaly.

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In the fall of 1997, Deborah Tall and John D’Agata, then the review’s editor and associate editor, respectively, began publishing what they called the lyric essay; the journal has since pioneered the form, having published lyric essays by Jenny Boully, Eula Biss, and Anne Carson, among many others.

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Students also will create and workshop their own Lyric Essays, experimenting with a variety of forms. Readings may include work by Eula Bliss, David Shields, John D’Agata, Jenny Boully, Lia Purpura, Anne Carson and more.

THE LYRIC ESSAY. In the introduction to an issue of the Seneca Review dedicated to the lyric essay, editors Deborah Tall and John D’Agata write, “The lyric essay partakes of the poem in its density and shapeliness, its distillation of ideas and musicality of language. It partakes of the essay in its weight, in its overt desire to engage with facts, melding its allegiance to the actual with.

Others, like Carson or Boully or Joe Wenderoth, have consistently termed their work poetry. Thalia Field has published her singular writing under the label of fiction, although it seems better read as poetry. Here, of course, it is an essay, as are works of autobiography. David Antin shows up with more of his astonishingly boring diaries.

The second thing that struck me, after considering the lyric essay as a poetic form, was its similarity to another poetic form that emerged in American poetry around the same time. The lyric essay was first named by Deborah Tall, then-editor of Seneca Review, in 1994 in a note to John D’Agata, and the journal devoted at least part of its.

The Body calls itself “an essay by Jenny Boully,” but we might equally call it an exploded memoir, or a book-length prose poem, with bits (not much more) of narrative and essayistic analysis poking out through its attention-getting conceit: Boully’s poem consists wholly of footnotes, about 160 of them, arranged at the bottom of pages left.

These lines return to the themes of the fear of self, the fear of loneliness and naming. To journey through Field’s universe is to enter surprising poetic and lyric terrain. For example, “Feeling Into Motion” is a beautiful and unexpected lyric essay on Alaska that leaves the reader on the moon.

First, Jenny Boully’s The Body: An Essay. Boully’s book-length essay unfolds as a series of footnotes to an absent body copy, on an otherwise blank page. The blank pages indicate all the lost points of reference to the footnotes’ origins, but as they accrue, meaning takes shape through their absence.

In the end, poetry and prose are inextricable in the form of the lyric essay, each binding to the other through form and structure: A hermit crab essay couched within a book-like box, a collection of related images forming a mosaic (collage) essay, disparate strands woven into a braided essay. Sometimes the structures examined are imagery connected by myth, or reflection, or repetition, or a.

In this study of eight hybrid genres—including lyric essay, epistolary, poetic memoir, prose poetry, performative, short-form nonfiction, flash fiction, and pictures made of words—the family tree of hybridity takes delightful shape, showcasing how cross-genre works blend features from multiple literary parents to create new entities, forms.