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Still Life with Oysters and Lemon: On Objects and Intimacy, by Mark Doty
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Mark Doty's prose has been hailed as "tempered and tough, sorrowing and serene" (The New York Times Book Review) and "achingly beautiful" (The Boston Globe). In Still Life with Oysters and Lemon he offers a stunning exploration of our attachment to ordinary things-how we invest objects with human store, and why.
- Sales Rank: #87894 in Books
- Brand: Brand: Beacon Press
- Published on: 2002-01-19
- Released on: 2002-01-19
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .22" w x 5.50" l, .25 pounds
- Binding: Paperback
- 80 pages
- Used Book in Good Condition
From Library Journal
Although at first glance this slim volume appears to be a quick read, it should be lingered over and reread to uncover the full depth of its beauty and insight. Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace. This little book is a gem. For circulating libraries. Carol J. Binkowski, Bloomfield, NJ
Copyright 2001 Reed Business Information, Inc.
Review
Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times
"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude
"A gem." -Library Journal
"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum
"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories
About the Author
Mark Doty is the author of six books of poems and two memoirs, Heaven's Coast and Firebird. A Guggenheim, Ingram-Merrill, and Whiting Fellow, he has also received the National Book Critics Circle Award and the PEN/Martha Albrand Prize for Nonfiction. He teaches at the University of Houston, and divides his time between Houston and Provincetown, Massachusetts.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Underwhelming ... vanity project?
By Rhetor
Underwhelming. Brief in ways I did not appreciate, and IMHO self-indulgent. Better to get the Wet Collection, which Doty blurbed, or any number of better, fuller prose-poetry collections.
0 of 0 people found the following review helpful.
Five Stars
By S. Luke
This book greatly enhanced my understanding and appreciation of the still life genre.
13 of 16 people found the following review helpful.
Disappointing, but perhaps only because it comes very close
By J Charles
I found Doty's work to be disappointing. Mostly this is due to the fact that I think the ideas in the essay are wonderful. I love what he's attempting to do, this difficult "assay" at making very ephemeral sensations about art concrete, to make them comprehensible, to wrap his head and the reader's around them. The glorification of objects, of "bodies," is done wonderfully at times. At other times, to be completely honest, Doty's world was alive and magical to the point it gave me nausea. An example:
"Therein lies a large portion of the painting's poetry; these things form not a single whole but a concert, a community of separate presences; we are intended to compare their degrees of roundness, solidity, transparency, and opacity."
Okay, this is nice. Slightly meandering, but the form fits the function (I think), so that's just great.
Continuing with the same paragraph:
"They [the separate objects within the still life] are each a separate city, a separate child in a field of silent children. They speak back and fourth--do they?--across he distance between them. At dinner at my friends', I was seated with my back to the painting, but I felt its magnetism; I was trying to converse, I was conversing, but I felt still its pull, the strange silence of these separate things refusing to form a singular composition, as if it were my work to complete them, as if they needed and demanded me."
This is perhaps personal preference: That is simply too much for me. And this is a reoccuring problem. Further, some scenes are so hammered to death by Doty's detail of 'things' that I cannot inhabit them at all, there is no room for me, and thus I lose that interaction with art Doty is attempting to describe. I would assume Doty did this by intention, as another layer of his discussion of "bodies" and "things" and collecting them, and I think it's a compelling idea; I just don't think it works. I was disappointed that it didn't work, but it still didn't. Reading such sections became a chore.
Doty's structure throughout bends his central idea around many scenes and situations, which is wonderful, and by the time he gets to what I would call his climactic claim -- that still life distills the "I" to its quickest and most subtle: "a moment of attention, an intimate engagement" -- I'm completely on his side. In fact, beginning about halfway through with his description of an auctioneer and his relationship with his late partner, I was completely taken by the piece for a bit.
I would give this 3.5 stars if I could. I can't give it 4 because my overall sense after finishing was disappointment. I still recommend you read it.
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