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As Wheeler notes, the terms closed and open have long posed problems for poets and scholars. Addressing such controversies, the author offers three meanings for enclosure: formal confinement, reserve or privacy in both style and content, and a central dependency on imagery of narrow spaces. She finds that Brooks does not exercise privacy in the same manner as Dickinson or H.D. and that Moores conception of poetic form contrasts sharply with those of Bishop and Dove. Nevertheless, Wheeler asserts, these authors demonstrate a common approach to the lyric that constitutes a central and overlooked mode of American poetry.
In charting the history of an evolving and flexible poetic strategy, The Poetics of Enclosure also argues for the continuing relevance of lyric as a category. While the poets treated here all mount challenges to lyric definition, they also work in crucial relation to its traditions. All conceive of the lyric in terms of rhythmic and/or visual patterns; all allude to the metaphor of voice; and, in particular, all emphasize the boundaries between private and public that the lyric highlights. Where figures of enclosure appear, Wheeler argues, these poets not only illuminate their poetic practice but also, after Dickinson, acknowledge in shorthand their female peers and predecessors.
The Author: Lesley Wheeler is associate professor of English at Washington and Lee University. She has published essays and reviews in the African American Review, Callaloo, Critical Matrix, and other journals. Her poetry has appeared in such publications as American Writing, Northeast Journal, and American Standard.
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