H eBook Jim Elledge
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H, the exciting new book by Lambda award-winning poet Jim Elledge, is an impressionist biography in prose poems of outsider artist Henry Darger. Like Darger, H is entangled in a disturbing triangle haunted by the spirit of murdered six-year-old Elsie Paroubek; plagued by memories of the childhood sexual abuse he suffered and by the despair he endured as an adult because of it; and tormented by the Divine as only believers can be. Through it all, only his “special friend” Whillie provides H (and Darger) sanctuary. H is an unflinching portrait of two men simultaneously—one real, one metaphoric, both extraordinarily complex.
“A closet artist conjoins the furtive pleasures of childhood sexual awakening with his later pursuit of The Unseen, the imaginative world that he creates from purloined images and a singularly unschooled and fantastical tale of his own making. In H, Jim Elledge brings us the idiosyncratic, ingenuous mind of Henry Darger, the reclusive custodian whose artwork captivated critics with its naïve brilliance. Elledge’s deft, nuanced poems uncloak the hidden desires embedded in Darger’s art. They are their own rare planet, inhabited with flights of fancy and dark erotic joy.”
—D. A. Powell, author of Useless Landscape, or A Guide for Boys
H eBook Jim Elledge
The first 40 percent is nothing more than filler containing reference sources and definitions that have very little to with Henry D. I understand it is a piece of fiction but the way it is based on the underground writer and speculates on his sexuality and childhood abuse in a very cheap way that doesn't sit well with me. I wanted this book to be good. It is written in a somewhat poetic style and some of the phrasing is interesting. Still I feel as ripped of as Henry D. must of felt after paying $6.95 for this. Bottom line it just was not worth the price.Product details
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H eBook Jim Elledge Reviews
Jim Elledge's new book, H, is an unnerving, insightful, always surprising prose poem portrait of outsider artist Henry Darger.
I wasn't prepared to live in the spaces Elledge created. Darger's work, indeed Darger, has always disturbed me and my tendency was to look away from his art and life. Elledge's portrait of him is challenging and, at times, beautiful. It isn't often that a book of documentary poetry shakes me like this; A. Van Jordan's M.A.C.N.O.L.I.A. (which also uses the "Dictionary Entry" prose poem form, though not exclusively as here), Lavonne Adams' Through the Glorieta Pass, Natasha Trethewey's Bellocq's Ophelia, and Nicole Cooley's The Afflicted Girls are a few others.
The power of these poems rises as much from the careful language of Elledge and the conjured presence of Darger as it does from the biographical details the poet has included. In the opening poem, "Algebra," Elledge gives us an introduction to the disturbing images employed and altered by Darger, and he invites us into Darger's "linguistics of watercolor and crayons." He also warns the reader of what is required to enter Darger's world and vision, to "hear" Darger's art "You can hear it as clear as can be, if you don't let the screams from the butchery get in your way."
Though much of the language used in the poems is stark and stripped (something which adds to an imprisoning, claustrophobic feeling for the reader), Elledge also uses moments of rhyme and repetition to his advantage and creates rooms in the house of the book where time is blurred and the old Darger is fused with the boy who suffered at the hands of his abusers (arguably individuals who took sexual advantage of the young Darger and a repressed society that created and fostered abusers while punishing the victims of abuse). At times the poems take on a terrifying nursery rhyme life where the aging Darger and the child are inseparable "When H flops down at his table to trace, retrace, and trace again the little girls and boys he clips out of magazines and newspapers, he ignores their clothes (not pose). Dresses and skirts and blouses and trousers and shirts disappear, even socks and shoes."
These are not poems for the timid, nor will the brave reader find a safe place to settle their minds. Should the reader grieve for Darger, the victim of molestation, or fear him, a possible pedophile (if only in his mind and art)? Was Darger a visionary or a madman? Should we try to understand Darger or turn our heads in disgust? Where is the line between saint and madman? Where is the line between the horror Darger confronted and the horror the reader might have confronted in his own life? Part of the book's brilliance is that there are no easy answers "here on the sidewalk where that stud The Unseen leans against a lamppost, on-lookers hold sparklers and shift their weight one foot to the other. In the sticky dark (not park), you can barely breathe, the humidity close as a stranger's palm across your mouth. It keeps you from crying out. It makes you take it like a man. Not H's hand. Someone else's."
Elledge has created an unforgettable book of poetry about an unforgettable man who longed for divine ecstasy while mired in his own darkness and the darkness we create every single day in our too often judgmental and repressive world. Elledge does not free Darger completely, but he frees Darger just enough for us to encounter him in all of his mangled complexity and pathetic beauty. It is not an easy book, but it is a necessary book.
I love this book on so many levels--as writer, reader, and teacher. It's complicated and beautiful, a prism of glances into the life of Henry Darger--the "possible" life, as Elledge himself well knows, having researched the enigmatic man for years and written about him in varied fascinating ways--both poetic and scholarly. Darger remains a mystery to me in this work, and I'm fine with that. What I know for certain is that I trust Jim Elledge to share the joy of his own discoveries, to provide me with clues, to wrap his findings in lovely provocative language, and then to step back and let me have my own experience. I highly recommend H to all students and lovers of the poetic and the brave.
The first 40 percent is nothing more than filler containing reference sources and definitions that have very little to with Henry D. I understand it is a piece of fiction but the way it is based on the underground writer and speculates on his sexuality and childhood abuse in a very cheap way that doesn't sit well with me. I wanted this book to be good. It is written in a somewhat poetic style and some of the phrasing is interesting. Still I feel as ripped of as Henry D. must of felt after paying $6.95 for this. Bottom line it just was not worth the price.
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