Posts Tagged ‘Garden of Eden’
September 12, 2013 | by Alex Dueben
Over four decades, Gregory Orr has established his reputation as a master of the lyric poem. Throughout his career, which also includes books of essays and criticism and an award-winning memoir, Orr has primarily written short free-verse poems, but in the past decade he has turned to writing long sequences comprising of short poems in such books as Concerning the Book That Is the Body of the Beloved (2005) and How Beautiful the Beloved (2009). His newest, River Inside the River, consists of three such long sequences: “Eden and After” retells the story of Adam and Eve; “The City of Poetry” explores a place “where every poem / Is a house; / And every house, a poem”; and the third, titular sequence explores redemption and language. All are themes that have been present in his work from the beginning. Orr and I spoke recently about the changes in his work.
You said that your newest books have been “a pivot toward something,” which is a phrase I like. How would you characterize the shifts in your work since Orpheus and Eurydice (2001)?
The first thing that persists is being a lyric poet—that’s going to persist across any change. For me, that means concentration of language in a given moment of time. What I’ve always been interested in is getting the emotional, imaginative, linguistic intensity of lyric but also getting the scope of narrative. There are two phrases that work as central nodes for my imagination. The first one is “gathering the bones together.” That came from a poem in my second book, The Red House (1975), when I was still working on personal material but working in a way that made my poetry less accessible than I might have hoped. The phrase comes from a seven-part sequence that concerns my brother’s death in a hunting accident and my responsibility for it. I was trying to use imagination and language to engage that story, but the central phrase was this kid wandering in a field gathering bones. That’s a pretty grim image. Read More »
November 22, 2010 | by Miranda Popkey
On a late night last week, I slipped out of the Paris Review offices, and into a more glamorous setting across the street. On lower level of the Tribeca Grand Hotel, movie stars were posing with practiced ease in front of a cluster of photographers. The occasion was a preview screening of the film Garden of Eden, which will be released on December 10. Among the celebrities there were Mena Suvari—who oozed classic Hollywood glamour in an all-black ensemble, bright red lipstick, and soft, blond, Veronica Lake waves—and Matthew Modine, tan, rugged, and sporting a jaunty blue scarf. Both star in the new film, based on the Ernest Hemingway novel of the same name. It’s an autobiographical tale set in Europe between the wars that chronicles a love triangle between Hemingway stand-in David Bourne (Jack Huston), his wife, Catherine (Suvari), and the stunning Italian heiress Marita (Caterina Murino), whom Catherine introduces into the relationship during the couple’s seaside honeymoon—a decision she will later come to regret.
The novel, unfinished at the time of Hemingway’s death and published—amid editing controversies—in 1986, was recently adapted for the screen by James Linville, former managing editor of The Paris Review. “My experience in the film industry has been very good so far,” he told me. “And much less rough and tumble than the New York poetry world. I’m being fun,” he hastened to add, though it's easy to see why one would want to trade the world of rejection slips for the chance to mingle with beautiful people.