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Carina Finn Defends Her Life As a Movie + Melodrama !!
Oh, we heart the melodrama. Carina Finn talks about this inclination–and her book, My Life Is a Movie–with Lisa Marie Basile at TheThePoetry. A snippet, or snifter, whatever they call it:
LMB: You recently defended – for lack of a better word – the use of melodrama in poetics. Why do you think people are so uncomfortable with it?
CF: It’s funny, because I don’t think melodrama itself is the problem; think, for example, of the melodramatics in Keats, in Eliot, in Donne – the first stanza of The Good Morrow is as dramatic as any Lana Del Rey song or Minnis poem. I think the real issue is that people have a problem with feminine melodramatics; it’s why Plath became the poster child for some crass concept of Confessionalism (even though another melodramatic man, Robert Lowell, is really responsible for that whole mess) in spite of the fact that she was a master craftsman and genius of the literary costume.
So, I think it’s a gendered issue more than a simple one of dramatic/not-dramatic. The “problem” with girly melodrama in contemporary poetry has to do less with the gesture and more with the thing against which the dramatic girl or queer of female-identified poet is reacting against. Look back to Freud’s case study of Dora, the classic hysteric: her fits of melodrama made people uncomfortable because it forced them to acknowledge some previous hurt or wrongdoing. It’s easier for people to discount the dramatic female voice in literature as a substanceless performance rather than actually dealing with the issues that would cause someone, say, to want to put together something like Marie Calloway’s Google Docs, or Joyelle McSweeney’s very bratty and dramatic Percussion Grenade – which is all about acting out, being loud, wearing costumes, and throwing a tantrum.
LMB: MY LIFE IS A MOVIE – the title itself – is a good bit melodramatic. People seem to be afraid of too many details; I’ve been told myself that “sparse” is good. Less isn’t more, to me, though. In fact, I think melodrama goes a long way. You detail your work extravagantly; I feel like I am getting wasted and then having my heart ripped out. Did you write this book for you, or for the world?
CF: It is dramatic, and intentionally so. In a lot of ways, this was a way for me to work through the issues I have/had with the label of Confessionalism; A lot of the things in MLIAM actually happened, and that’s why I chose the title. The scene with the Austrian welder and getting lost at Ground Zero, and there’s a bit where a jogger gets hit by a car; I workshopped an early version of this and someone actually said that the getting hit by a car thing felt too contrived and overtly melodramatic, that it seemed as though I had put it there for shock value.
They also chat up everyone’s favorite sujet, MFAs (Finn studied with Johannes Göransson):
LMB: We both just received our MFAs in poetry. There is a lot of talk about uber-Masters and medieval practices and sheer wastes of money. What are your experiences with the system?
CF: I’m probably the wrong person to ask about this, because I believe fully in the ideas of Poetic Lineage, the tradition of an apprentice being shepherded along by a Master, and Feudalistic economies in general. I write about it in an essay on my blog called FEUDALISM IS RAD, and you performed the role of the Idol in my play, EVERYBODY, LET’S BELIEVE IN THIS IMAGINARY CURRENCY at The Bowery Poetry Club last summer, which was essentially “about” the whole issue of the MFA economy. As far as the MFA itself goes, there are a two things I was told by the person who taught me as an undergrad, and these are some of my personal ultimate truths: don’t pay money to get an MFA, and don’t get an MFA for any other reason than the luxury of two (or three) years during which you have no obligation except to your work.
That being said, once I got to my MFA program (which was amazing, by the way, and certainly not for everyone but I wouldn’t have wanted to go anywhere else) I got very angsty and resentful of the whole thing. I wrote this long allegorical poem called The Princess and The Ivory Tower, which was a very bratty treatise on what I perceived as the injustices of being a young female in a fundamentally broken Academia, during my first semester. That poem really idealizes the sort of Grand Pastoral experience of learning about poetry, which is an exaggeration of my experience as an undergrad, as antithetical to the sorts of masturbatory arguments that can happen in a hyper-theorized context. In retrospect, I’m really glad that such places exist so that arguments, in general, can happen. They need not be “productive,” they need only to continue.
Check out Finn’s “touchy” book trailer below (feat. Lara Glenum & Arcade Fire), and read the full interview here.