INCARNATION & METAMORPHOSIS

An ardent cultural observer covers a wide range of topics.

As Mason writes early on, this ambitious collection is about “living with literature.” A few pages later, the enthusiastic author, an American poet currently living in Tasmania, writes, “we have enough orthodoxy in this world. Let’s try to shake it up a little.” In “At Home in the Imaginal,” Mason combines personal memoir with the magic of storytelling, Irish history, and an insightful analysis of a Yeats poem. In a piece on identity, he argues that “literature invites us into a third dimension where we might meet in our effort to understand not just ourselves but others.” Claudia Rankine “seems to have invented her own extra-literary discourse,” and Kay Ryan “comes across with transcendent delight.” The essay titled “Beloved Immoralist” includes fond memories about his father’s love for the artist rebel Gulley Jimson in Joyce Cary’s The Horse’s Mouth. Cary, notes Mason, was a “marvelous writer whose career sits uncomfortably among the tastes and demands of our own time.” The freethinking Diderot’s Rameau’s Nephew, which wasn’t published until 130 years after it was written, “reads like the love child of Socrates and Samuel Beckett with a dash of Mozartian élan,” while Jacquesreminds Mason of both Candideand the work of Isaac Bashevis Singer. Discussing his specialty, the author shows how Neruda’s poetry “still has the power to astonish and appall, awaken, and chill us and leave us shaking our heads in bafflement or respect,” and he nicely juxtaposes Sylvia Plath and Seamus Heaney in an essay about fame. Mason is effusive about Hermione Lee’s biography of Tom Stoppard, whom he considers a genius, and “Two Poet-Critics” is a delightful appreciation of Clive James and John Burnside. The collection ends with considerations of novelist Robert Stone and poets Dana Gioia and Michael Donaghy.

Witty and heartfelt essays, shaken and stirred.