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The award-winning poet reinvents a genre in a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present.
Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is.
A NEW YORK TIMES NOTABLE BOOK OF THE YEAR
National Book Critics Circle Award Finalist
"Anne Carson is, for me, the most exciting poet writing in English today." --Michael Ondaatje
"This book is amazing--I haven't discovered any writing in years so marvelously disturbing." --Alice Munro
"A profound love story . . . sensuous and funny, poignant, musical and tender." --The New York Times Book Review
"A deeply odd and immensely engaging book. . . . [Carson] exposes with passionate force the mythic underlying the explosive everyday." --The Village Voice
- Sales Rank: #22882 in Books
- Brand: Brand: Vintage
- Published on: 1998-08-01
- Released on: 1999-07-27
- Original language: English
- Number of items: 1
- Dimensions: 7.90" h x .40" w x 5.20" l, .41 pounds
- Binding: Paperback
- 160 pages
- Used Book in Good Condition
Amazon.com Review
Anne Carson's Autobiography of Red is a novel in verse, the author's first. A classicist by profession as well as a poet, Carson has drawn on antiquity for her cast, updating the myth of Geryon and Herakles. In the original version, of course, Herakles killed the red-skinned, winged Geryon. In Carson's very contemporary retelling, he merely inspires, but does not return, the monster's passion. By choosing Geryon as her central character, Carson can bring up the questions of existence as if they hadn't been asked before. After all, the monster's instincts have not been numbed by civilization. Fires twist through him. We feel the pain of learning the most elementary things, and then the volcanic intensity that comes with that more advanced thing, love. Yet Carson doesn't so much tell the story of Geryon's love as mediate his very being through semiological surfaces: cafes, video stores, lipstick, a library where he shelves government documents with a "forlorn austerity, / tall and hushed in their ranges as veterans of a forgotten war." Carson seldom satisfies herself with an image of the world. Instead she atomizes the world, leaving it broken down, refracted, and glinting. At times her verbal pyrotechnics manage to render pure energy: A little button at the end of each range activated the fluorescent track above it.
A yellowing 5 x 7 index card
Scotch-taped below each button said EXTINGUISH LIGHT WHEN NOT IN USE.
Geryon went flickering
through the ranges like a bit of mercury flipping the switches on and off.
The librarians thought him
a talented boy with a shadow side.
No novelist could have gotten away with that last line. Yet it's very much to the point: Carson's Geryon is, among other things, a camera freak who doesn't understand that an observer must inevitably alter the nature of the thing observed. Here is Heisenberg's uncertainty principle, cheek-by-jowl with the ancients! And indeed, Carson's achievement is to interweave the archaic and the modern so seamlessly that by the time we finish reading Autobiography of Red, the entire landscape looks inside out. --Mark Rudman
From Library Journal
Is it poetry? Is it a novel in verse? A fable? A myth? However you define Carson's distinctive and wildly inventive new work, it is riveting reading. At the center of the narrative is a winged red monster named Geryon; throughout, we see him struggling with his family, falling for the indifferent Herakles, and discovering photography as a means of comfort and escape. Wistful yet whimsical, offhand yet intense, funky yet erudite (Carson, a classics professor at McGill, grounds this work in ancient Greek myth), this is a reading experience like no other.
Copyright 1999 Reed Business Information, Inc.
From Booklist
The title says autobiography; the subtitle, novel; and an inner title page reads "A Romance." Go with the last, for Carson recasts the Greek legend of Geryon, the red, winged monster that Herakles killed during his tenth labor. Names, wings, and some mythical details remain, but the setting is contemporary. Geryon, 14, meets Herakles, 16, and it's love at first sight. Life separates them, but they meet again when Geryon, now 22, literally runs into Herakles in Buenos Aires. Herakles and a colleague (and lover), scouting volcanoes for a film, whisk Geryon to the Andes, where his wings may cause him to be taken for an immortal. There the story breaks off. The start of another fantasy trilogy? Hardly, for although we know the story's end, it is not in the source, an ancient poem that now exists only in fragments. Instead, Carson interviews the poet, Stesichoros (circa 630^-555 B.C.), about his vision (he may have been blinded by Helen of Troy). Narratively, philosophically, humorously, a dazzling performance. Oh, yes: it's a poem. Ray Olson
Most helpful customer reviews
1 of 1 people found the following review helpful.
What will you see when you allow yourself to disappear into the folds of the Autobiography of Red? What will you remember?
By Elisha Hawk
It must be a question of perspective. For me, it's as if I am standing outside a window looking in, and as I read, it is from the perspective of a mother of sons. Certain pieces linger -- Geryon's observation of stones at the beginning of the story- Carson has a unique ability to capture through mere glimpses the honesty and beauty of a child's understanding of his relationship to the world around him, trust in his brother because that's how the world should work in the mind of a 5 year old child; Geryon and his mother enjoying their Tuesday night routine- Geryon's mother's appreciation and validation of his sculpture autobiography; and perhaps what still pulls at my heart is what Carson was able to convey in the baby-sitting chapter- Geryon's retreat when his mother leaves and his springing to life with her return.
As I read the novel, I had to force myself not to judge, but to observe; it was easier the second time through. Still, my heart aches for Geryon, and his vulnerability. Carson beautifully captures Geryon's plight "outside and inside." My chest still tightens as I recall Geryon's struggle as he is left to fend for himself, first by his brother's apathy, then by his brother's violence, the cruelty of love lost, and finally the cost of his freedom.
"Who can a monster blame for being red?"
My heart aches for Geryon as he searches for meaning and an understanding of the distance between himself and the ones he loves, and his place in time and space.
Alice Munro captured the sentiment best: "this book is amazing -- I haven't discovered any writing in years so marvelously disturbing."
1 of 1 people found the following review helpful.
but maybe I'm just not smart enough.
By Camille Davis
This book was not my cup of tea. I read it for a class, but if it wasn't for the class, who knows if I'd ever pick this book up. Mainly, I don't understand it, but maybe I'm just not smart enough.
2 of 2 people found the following review helpful.
Very tough read
By Claudia Milesky
I've been trying to read this on the recommendation of a friend. I don't quite understand it and am trying to slog thru it. I don't think I am going to finish it but I will donate it to my local library as they do not have it.
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