{"id":165283,"date":"2023-09-01T10:30:48","date_gmt":"2023-09-01T14:30:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=165283"},"modified":"2023-08-31T10:33:03","modified_gmt":"2023-08-31T14:33:03","slug":"apparently-personal-on-sharon-olds","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/09\/01\/apparently-personal-on-sharon-olds\/","title":{"rendered":"Apparently Personal: On Sharon Olds"},"content":{"rendered":"
\"\"

Sharon Olds at left, with a GIrl Scout camp friend at Lake Tahoe, California, ca. 1956. Courtesy of Sharon Olds.<\/p><\/div>\n

Who is<\/em> Sharon Olds? Sharon Olds is an American poet, born in San Francisco in 1942. She has a Ph.D. in English from Columbia University and made her debut as a writer in 1980 with the poetry collection Satan Says. <\/em>Since then, she has established herself as one of the most read, most decorated, and most controversial North American contemporary poets. \u201cSharon Olds\u2019s poems are pure fire in the hands,\u201d Michael Ondaatje has said. She became particularly well known after she refused to take part in a National Book Festival dinner organized by Laura Bush, then First Lady, in 2005, and wrote in an open letter: \u201cSo many Americans who had felt pride in our country now feel anguish and shame, for the current regime of blood, wounds and fire. I thought of the clean linens at your table, the shining knives and the flames of the candles, and I could not stomach it.\u201d <\/p>\n

The way I discovered her was through a poem on a particular penis, which came as a recommendation from a Finnish Swedish colleague: \u201cRead Sharon Olds\u2019s \u2018The Pope\u2019s Penis\u2019!\u201d How reading this little poem about the Pope\u2019s sexual organ became contagious, I don\u2019t know, but the fact is that at almost the same time, I got a text message from another colleague, who wrote that she was sitting in a waiting room somewhere reading Sharon Olds\u2019s \u201cThe Pope\u2019s Penis.\u201d And here I must grab hold of you, reader, and shout, as though by international chain letter: Read Sharon Olds\u2019s \u201cThe Pope\u2019s Penis\u201d! Let\u2019s quote it in its entirety:<\/p>\n

It hangs deep in his robes, a delicate
\nclapper at the center of a bell.
\nIt moves when he moves, a ghostly fish in a
\nhalo of silver seaweed, the hair
\nswaying in the dark and the heat\u2014and at night
\nwhile his eyes sleep, it stands up
\nin praise of God.<\/p><\/blockquote>\n

The poem is an introduction to certain motifs\u2014the body, darkness, the desire to confront, imagery, et cetera\u2014which often appear in other equally unsettling, gripping variations and combinations elsewhere in her poetry. For example, here, in this extract from \u201cSelf-Portrait, Rear View,\u201d in which the poem\u2019s narrator is standing in a hotel room and, in another mirror and another light, catches sight of her fifty-four-year-old backside, \u201conce a tight end\u201d:<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0I flutter
\nthe wing of my ass again, and see,
\nin a clutch of eggs, each egg,
\non its own, as if shell-less, shudder, I wonder
\nif anyone has ever died,
\nlooking in a mirror, of horror.<\/p><\/blockquote>\n

It is in part the directness and mercilessness of her texts that have made her controversial. Does she exploit her own family for poetic purposes? Does she unjustly expose her parents and children? Perhaps it is the heartbreaking quality of her poems that has both won her so many prizes and afforded her poems the opportunity to appear in Oprah Winfrey\u2019s magazine, alongside articles with titles such as \u201c5 (Doable) Ways to Increase the Love in Your Life.\u201d She herself says in an interview with Salon<\/em> that the reason she is able to touch so many people is that she is not an \u201cabstract thinker.\u201d She is concerned with the day-to-day, with life, with looking at it, with letting observations and feelings flow down her arm and out through her pen, onto the paper. It\u2019s life that is important, and these poems help you to see that.<\/p>\n

It\u2019s also true that life would not have been the same without these poems. Sharon Olds is one of the most powerful examples to show that cautious writers who don\u2019t dare to write what they really want to, for fear of reprisals, are not what we need. In \u201cThe Sisters of Sexual Treasure<\/a>,\u201d she writes:<\/p>\n

As soon as my sister and I got out of our
\nmother\u2019s house, all we wanted to
\ndo was fuck, obliterate
\nher tiny, sparrow body and narrow
\ngrasshopper legs.<\/p><\/blockquote>\n

Personal, offensive poems? She says herself, in interviews<\/a>, that she prefers the description \u201capparently personal.\u201d \u201cI have never said that the poems don\u2019t draw on personal experience,\u201d she says. \u201cBut I\u2019ve never said that they do.\u201d It\u2019s a paradox: the words apparently<\/em> and personal <\/em>are obviously contradictory: personal<\/em> indicates that we are being drawn into someone\u2019s intimate sphere, having secrets whispered in our ear; apparently<\/em> in this context suggests \u201cfalse, not genuine, pretend\u201d\u2014something looks <\/em>personal, but do we have proof? Does it annoy us, to feel that it\u2019s only \u201capparent\u201d that Olds\u2019s poems are personal\u2014that is to say, coming from a real person? Does not the word also have something magical about it\u2014”to make something appear, become visible\u201d? Is that how it can be read? That the personal appears<\/em>? I would like to say yes! But we can\u2019t be certain that what we discover is Sharon Olds\u2019s personal<\/em>. It could just as easily be our own. Perhaps we will never know. We only feel it, as a slight pressure on the solar plexus, as a boom in our heart, as a sudden lift out of our own good skin.<\/p>\n

 <\/p>\n

Translated from the Norwegian by Kari Dickson.<\/em><\/p>\n

Gunnhild<\/span>\u00a0\u00d8yehaug<\/span> is an award-winning Norwegian poet, essayist, and fiction writer. Her most recent book is <\/em>Evil Flowers.\u00a0\u00d8yehaug<\/span>\u00a0lives in Bergen, where she teaches creative writing.<\/em><\/p>\n

Kari Dickson is an award-winning literary translator from Norwegian into English.<\/em><\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

\u201cRead Sharon Olds\u2019s \u2018The Pope\u2019s Penis\u2019!\u201d<\/p>\n","protected":false},"author":834,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[68676,3681,883],"class_list":["post-165283","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-issue-244","tag-sharon-olds","tag-staff-picks"],"acf":[],"yoast_head":"\nApparently Personal: On Sharon Olds by Gunnhild \u00d8yehaug<\/title>\n<meta name=\"description\" content=\"September 1, 2023 \u2013 \u201cRead Sharon Olds\u2019s \u2018The Pope\u2019s Penis\u2019!\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2023\/09\/01\/apparently-personal-on-sharon-olds\/\" \/>\n<meta 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