The Poetics of Carol Muske and Joy Harjo

The Poetics of Carol Muske and Joy Harjo

I began a study of autobiography and memoir writing several years ago. Recently I discovered two poets who believe that recording one’s place in history is integral to their art. Carol Muske and Joy Harjo are renowned poets who explore the intricacies of self in regards to cultural and historical place. Muske specifically addresses the poetics of women poets, while Harjo addresses the poetics of minority, specifically Native American, writers. Both poets emphasize the autobiographical nature of poetry. Muske and Harjo regard the self as integral to their art. In this representation of self, Muske and Harjo discuss the importance of truth-telling testimony and history in their poetics. Muske says, “…testimony exists to confront a world beyond the self and the drama of the self, even the world of silence—or the unanswerable…” (Muske 16).

Muske asks, “The question of self, for a woman poet…is continually vexing…what is a woman’s self?” (Muske 3). Women have historically had their self created for them by the patriarchal society in which they live, which leaves contemporary women wondering how to define a woman’s self at all. Even if they, as women, can create a self, how accurate is it? Muske muses on what is a truth telling self since a woman’s perception of truth is colored always by what the patriarchal society is telling her is truth. Muske says in her poem “A Private Matter”, “…there are the words, dialogue of people you once became or not…”. It is in these words that a woman finds herself, a poem of all the selves in a self, but not without a cost. In “Epith”, Muske muses:

You forget yourself

with each glittering pin,

each chip off the old rock,

each sip of the long toast

to your famous independence,

negotiated at such cost—

and still refusing to fit.

“The inclination to bear witness seems aligned with the missing self” (Muske 4). Women create the ‘missing’ self by telling their stories, not the stories that have been told to them by a male dominated society, but those stories that define that missing self. In so doing, Muske reiterates the statement James Olney makes when he says, “... even as the autobiographer fixes limits in the past, a new experiment in living, a new experience in consciousness ... and a new projection or metaphor of a new self is under way” (Olney).