{"id":74131,"date":"2014-07-17T19:00:43","date_gmt":"2014-07-17T23:00:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=74131"},"modified":"2016-07-18T10:09:32","modified_gmt":"2016-07-18T14:09:32","slug":"rita-doves-canary","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/07\/17\/rita-doves-canary\/","title":{"rendered":"Rita Dove\u2019s \u201cCanary\u201d"},"content":{"rendered":"
\"Billie_Holiday_and_Mister,_New_York,_N.Y.,_ca._June_1946_(William_P._Gottlieb_04271)\"<\/a>

Billie Holiday and her dog Mister, New York, ca. June 1946. Photo: William P. Gottlieb<\/p><\/div>\n

Many eminent American poets have elegized Holiday, attempting to capture something of her exquisite voice, whose unique tough-tender grain suggested a life of extremes. Langston Hughes\u2019s \u201cSong for Billie Holiday,\u201d Frank O\u2019Hara\u2019s \u201cThe Day Lady Died,\u201d<\/a> and Rita Dove\u2019s \u201cCanary\u201d are just a few of the diverse poetic responses to the loss of Lady Day; Kevin Young\u2019s anthology Jazz Poems<\/a><\/em> devotes an entire thoughtfully curated section, \u201cMuting (for Billie Holiday),\u201d to her memory.<\/p>\n

These works belong to the larger tradition of the jazz elegy, a genre that attempts something next to impossible: to commemorate and preserve music that\u2019s defined by its immediacy and transience. The grain of the voice. The physicality of the performer. The improvisations and flourishes and intangibles that exist for one night only. If the essence of jazz exists in the moment of performance, then much of the work of the jazz elegy is to make such music legible while also acknowledging the futility of such a project.<\/p>\n

Rita Dove\u2019s \u201cCanary<\/a>,\u201d from 1989, begins:<\/p>\n

\n

Billie Holiday\u2019s burned voice
had as many shadows as lights,
a mournful candelabra against a sleek piano,
the gardenia her signature under that ruined face.<\/p>\n<\/blockquote>\n

<\/p>\n

I first came across \u201cCanary\u201d in Dove\u2019s 1991 collection Grace Notes<\/a><\/em>, which, as its title suggests, is full of poems that navigate the subtle intersection between word and sound, poetry and melody. I was struck by the Holiday elegy for its reverence\u2014for its refusal to impose a tidy summation on the jazz figure. There\u2019s no hint of the pathetic. Dove doesn\u2019t try to capture Holiday\u2014the image of the caged canary suggests that\u2019s already been done by too many. Instead, she focuses on illuminating complexity, putting language to the strange sadness that flickers throughout Billy Holiday\u2019s music.<\/p>\n

The short poem evokes Holiday by insisting on the fugitive, the complex, and the fragmented; Dove conjures the depth and grain of Holiday\u2019s voice, with its shadows and lights, and mobilizes it as a metaphor for a life of highs and lows. The poem shifts in verb tense and perspective, creating a kind of alternate timeline\u2014stanzas meld the past and the present, reminding the reader of the web of intricate struggles behind the sob story that so often stands in place of Holiday\u2019s life. The past is made up of a series of compiled immediacies\u2014we remember the tragic narrative as easily as we forget the individual moments of practical need fulfillment and doing what \u201cyou have to.\u201d<\/p>\n

Dove presents Holiday\u2019s aesthetic as one emerging from entrapment: Holiday, like a canary, sings through a cage, her personal truth boxed in by tabloid reconstructions and memory distortions. And Dove\u2019s own tersely enigmatic poem formally embodies this constraint. \u201cFact is, the invention of women under siege \/ has been to sharpen love in the service of myth,\u201d Dove writes, confronting the interplay of fact and legend in depicting the famous jazz singer. Holiday\u2019s music proves that she\u2019s a shrewd, masterful performer, but she\u2019s burdened by a posthumous narrative that pins her as a tragedy, a beaten woman, an addict, a criminal, a prostitute. A poem like Dove\u2019s allows us to see beyond these labels. The strongest weapon against being \u201cinvented\u201d by others? Inscrutability. \u201cIf you can\u2019t be free, be a mystery.\u201d<\/p>\n

The full text of the poem is available online through the Poetry Foundation<\/a>.<\/p>\n

Chantal McStay studies English at Columbia University and is an intern at <\/em>The Paris Review.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Many eminent American poets have elegized Holiday, attempting to capture something of her exquisite voice, whose unique tough-tender grain suggested a life of extremes. Langston Hughes\u2019s \u201cSong for Billie Holiday,\u201d Frank O\u2019Hara\u2019s \u201cThe Day Lady Died,\u201d and Rita Dove\u2019s \u201cCanary\u201d are just a few of the diverse poetic responses to the loss of Lady Day; […]<\/p>\n","protected":false},"author":709,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4715],"tags":[6234,14654,330,14653,7221,165,4273],"class_list":["post-74131","post","type-post","status-publish","format-standard","hentry","category-the-poem-stuck-in-my-head","tag-billie-holiday","tag-canary","tag-jazz","tag-jazz-elegies","tag-poems","tag-poetry","tag-rita-dove"],"acf":[],"yoast_head":"\nRita Dove\u2019s \u201cCanary\u201d by Chantal McStay<\/title>\n<meta name=\"description\" content=\"July 17, 2014 \u2013 Many eminent American poets have elegized Holiday, attempting to capture something of her exquisite voice, whose unique 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