'A Hostile Environment': Failure of Composition in the Poetry of Anna Mendelssohn.

This essay examines the effects of incompleteness in Anna Mendelssohn’s poetry, when incompleteness constitutes a requirement to take the thought of the poem further, beyond and outside itself, especially in its refusal to be reconciled with reality as it exists. Taking composition to mean the integration of the materials of a poem into a whole, the argument seeks to show that Mendelssohn’s poems are not-whole, and do not construct a world, but on the contrary carry through an unappeasable criticism of the reality she lived, which is that of late twentieth-century Britain. Her work is in unremitting rebellion against language that covers over and permits misogyny, racism, class oppression, hatred of art, insipid living. She writes from a situation in which not-speaking is imposed, in which the speech organs themselves have been damaged and closed up. This condition carries a removal of the self from life, into a place of death. Another, contrary death, however, takes place in her poetry: that of the self that passes through a disintegration, which Mendelssohn places at the heart of ecstatic experience of life. She excoriates those who want to remove the extreme aliveness of lyrical language from life and poetry. The law is what gives permission to that suppression: her poetry repeatedly moves against the actions of the law as it deadens life and language. Mendelssohn’s poetry is an account, implacable and without resentment, of a life lived inside and against personal and historical suffering.