Poetry has its uses for despair. It can carve a shape in which a pain can seem to be; it can give oneโs loss a form and dimension so that it might be loss and not simply a hopeless haunting. It can do these things for one person, or it can do them for an entire culture. But poetry is for psychological, spiritual, or emotional pain. For physical pain it is, like everything but drugs, useless.
Christian WimanMandelstam's style is not singular. He could be stately and traditional, ribald and funny, hectic, elegiac. He could handle abstractions and ideas as well as Pope or Browning but then be so musical that other poems approach pure sound.
Christian WimanI'm drawn to this range, that's for sure, but I suppose the thing that most appeals to me about Mandelstam is the sense you get from every poem that everything - the poet's very soul - is at stake.
Christian WimanWhat we call doubt is often simply dullness of mind and spirit, not the absence of faith at all, but faith latent with the lives we are not quite living, God dormant in the world to which we are not quite giving our best selves.
Christian WimanThe endless, useless urge to look on life comprehensively, to take a bird's-eye view of ourselves and judge the dimensions of what we have or have not done: this is life as landscape, or life as rรฉsumรฉ. But life is incremental, and though a worthwhile life is a gathering together of all that one is, good and bad, successful and not, the paradox is that we can never really see this one thing that all of our increments (and decrements, I suppose) add up to.
Christian WimanMandelstam is the sort of poet who comes along very, very rarely. Even the two Russian poets whose work is often linked with his - Anna Akhmatova and Marina Tsvetaeva - though their work is more "urgent" than most American poetry, seem to me to operate at a lesser charge than Mandelstam.
Christian Wiman