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Herakles in South America is a beach-bum-oblivious American tourist.Geryon watches him bend situations with his bare hands, and eros moves toward different confusions.
The point of Carson used the word "triangulate" for what Eros does, and a downside was inherent in the Greeks' idea: the god was no Hallmark cupid but blinding, dazzling; omnipotential trouble.
Carson in earlier poems (or "essays"--as in ) addressed this between a man and a woman: once in the irascible and hilarious "Just for the Thrill," with its extended, sub-marital camping trip across America; once in "The Glass Essay," amid a Cathy-and-Heathcliff epic.
in a bus depot that Geryon meets Herakles, in Chapter 7 ("Change"), which begins: "Somehow Geryon made it to adolescence." As 16-year-old Herakles steps off the bus from New Mexico, "The world poured back and forth between their eyes once or twice" and from that moment, in 14-year-old Geryon's mind, they were "two superior eels / at the bottom of the tank and they recognized each other like italics." Throughout "), Red ends up back on the island briefly, devastated; then contemplative in Buenos Aires (later, by purest chance, with Herakles again and his new lover), in Lima, and finally in the Quechua Andes above the capital.
The disorientation of being the only winged red creature at school flies smoothly into the disorientations of travel.
In , between two men (or two offspring of gods) the problematic of eros in our erotic culture--the submissions and powers, coercions--is nearly as clear as it can get.
Because of the levelled playing field of gender, last fall: 31 pages titled "Irony Is Not Enough: Essay on My Life as Catherine Deneuve." It's a novella in verse, posing the questions from Hera-kles' side: Eros triangulates on two women--more precisely, on a classics professor and a female student.Or as empathic: in "Red: A Romance," no one gets killed with arrows or a club, but the violence is no less effective; it's just not epic, except perhaps in its impact on Geryon.one- to seven-page chapters are in alternating long and short lines, short lines reading at first like reconsiderings of the long-afterthoughts, emendations.It's at this point that Geryon begins his autobiography: Over time, Geryon becomes resourceful; he keeps his own counsel (he becomes Red, in a way--hard to think of him as Geryon).He knows--has written in his autobiography, in fact--the story of Herakles' killing him long before they meet.Like 's last chapter ("The Flashes in Which a Man Possesses Himself"), both Stesichoros and Carson's interviewer half-avoid discussing the story.Here it's a triumph that neither so much as mentions Herakles. We are committed to staying free for all our readers.Anne Carson Knopf, Herakles (or Hercules, or Heracles, depending on the movie, TV series, comic book, or poem) was, even before his labors, much more famous than the king who set them.He's certainly better known than his adversary in Labor 10, the winged red monster Geryon (pronounced Ger'ion or Je'rion), whom Hera-kles killed so as to steal his cattle.") is followed in the front matter by "Red Meat: Fragments of Stesichoros" and three Appendices (on the blinding of the Greek poet Stesichoros by Helen) in the best mock-academic tone.Although it's half mind game, a whirring puzzle, is at its center dead-serious.