'Already, in her 1974 volume Automatic Sad, poet Pam Brown's melancholy protagonist is seriously dissatisfied. S/he sees "... dark corners / and black holes here" ("The Collapse" 17), losing her head "midframe in the city again / with a bag of banal images" (17). S/he is "desperate / in similar sad thoughts / think(s) maybe some angel ... might roll into the house and unwrap the mystery I've been solving for thousands of years" (17). Poet, social critic and existential being are dose here, but distinct; each ghosts the other, playing hard to get and hard to pin down, with each other let alone with the reader. Is "The Collapse" an indicative poem of tentative hope and poetic generation, or of melancholy/ruefulness/ irony/ self-disappearance, or both? Between irony, social critique and tongue-in-cheek, Brown's poems are little disappearing acts. Or at least putative attempts at self-deconstruction, being both within language, and pressing to be somewhere beyond it: "Half here / Half gone" (106). (Introduction)
'Already, in her 1974 volume Automatic Sad, poet Pam Brown's melancholy protagonist is seriously dissatisfied. S/he sees "... dark corners / and black holes here" ("The Collapse" 17), losing her head "midframe in the city again / with a bag of banal images" (17). S/he is "desperate / in similar sad thoughts / think(s) maybe some angel ... might roll into the house and unwrap the mystery I've been solving for thousands of years" (17). Poet, social critic and existential being are dose here, but distinct; each ghosts the other, playing hard to get and hard to pin down, with each other let alone with the reader. Is "The Collapse" an indicative poem of tentative hope and poetic generation, or of melancholy/ruefulness/ irony/ self-disappearance, or both? Between irony, social critique and tongue-in-cheek, Brown's poems are little disappearing acts. Or at least putative attempts at self-deconstruction, being both within language, and pressing to be somewhere beyond it: "Half here / Half gone" (106). (Introduction)
