Carol Muske-dukes Criticism
Carol Muske-Dukes, born in 1945 in St. Paul, Minnesota, is an acclaimed American poet and novelist recognized for her deeply personal and introspective works that offer insights into daily life and familial relationships. Writing often from a feminist perspective, her poetry is distinguished by unique metaphors and autobiographical elements, as noted by Jean Gould. Muske-Dukes’s literary career began early, as she started writing poetry at the age of six and later earned degrees in English and creative writing before studying French literature in Paris.
Her debut poetry collection, Camouflage, published in 1975, showcases her talent for language and phrase-making, although it was seen as having more promise than full mastery, according to a review in Choice. Her subsequent collections, such as Skylight and Wyndmere, continue to explore personal themes, including marital relationships and the bonds between women across generations, garnering praise for their emotional depth and focus on love relationships—as highlighted by Sherod Santos and Carolyn Kizer, respectively.
Muske-Dukes's writing evolved to include complex themes and a blend of personal and political elements. Her novel Dear Digby uses humor and poignant storytelling to blur the lines between sanity and madness, receiving mixed critiques for its tonal ambivalence, as noted by Linsey Abrams. Similarly, her novel Saving St. Germ explores the integration of intellect and emotion, although it has been critiqued for an overly neat conclusion, as observed by Tom De Haven. Despite occasional structural criticisms, Muske-Dukes’s works are celebrated for their technical skill and passionate exploration of human experience. Her poetry's political dimensions and examination of the intersection between public and private life have been particularly noted for their sophistication, as highlighted by Sandra M. Gilbert in her review of Red Trousseau.
Contents
- Principal Works
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Essays
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Camouflage
(summary)
In the following review, the critic points to the strengths and weaknesses of Camouflage. First collections of poetry are always fascinating. Generally, there is a measure of promise as well as all the faults that occur when a complex art is newly explored by a novice. This is particularly true of Muske's collection. Her prime gift at this stage is a strong feeling for vocabulary and an instinct for strong phrasing. What she must continue to develop is the concept of structure and the fusion of idea and form. Two of the works in the 'Ice' sequence, 'Freezing to death' and 'A yoga class,' demonstrate what she can do when her poetic elements come together in harmony. There is also a feel for characterization, particularly in 'Swangsong' (perhaps the best work in this collection). The title poem may be a stanza short of fully working out a significant concept. The long sequence, 'Salad days: Nebraska, 1964,' busily entangles autobiographical swatches and adjectival phrases to the reader's severe disadvantage. At this point, Muske has a wealth of promise, but then so do a host of other currently published poets; one looks forward to the next collection.
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Skylight
(summary)
In the following excerpt, he praises Skylight for its focus on love relationships between men and women.
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Carol Muske
(summary)
In the following essay, she discusses the ways in which Muske's life is reflected in her work.
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Motherhood, Magic, and Lavender
(summary)
Kizer is an American poet who won the 1985 Pulitzer Prize for her collection Yin (1984). In the following excerpt, she presents a largely positive review of Wyndmere and suggests that the volume may be a preliminary step prior to a truly great work.
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A review of Wyndmere
(summary)
In the following excerpt, she argues that despite its strengths, Wyndmere does not display Muske's full ability as a poet.
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Wyndmere
(summary)
In the following review, she lauds Muske's ability to combine technical literary skill with the passion needed to write vital, risk-taking poetry.
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Love Letters from the Mad
(summary)
In the following review, he explains why Dear Digby doesn't add up to the sum of its many appealing parts. Life is no picnic for Willis Jane Digby, the heroine and narrator of Carol Muske-Dukes's entertaining first novel, Dear Digby, who edits the letters column for Sisterhood magazine. The letters from both male and female crazies begin to drive her crazy, leading her to see reflections of herself in these missives.
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Miss Lonelyhearts Meets the Feminine Mystique
(summary)
In the following review of Dear Digby, she argues that the novel's half-comic, half-serious style undermines the reader's identification with the protagonist.
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Distortions in the Glass
(summary)
In the following excerpt, he praises Applause and Muske's ability to combine simplicity and complexity, straightforwardness and abstraction.
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For Love of a Protein Sequence
(summary)
In the following review of Saving St. Germ, he explains that the novel's "unconvincing, hurried conclusion can't spoil what in all other respects is a truly original work of fiction."
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Family Values
(summary)
In the following excerpt, Gilbert faults the narrative obscurity of many poems in Red Trousseau, but praises the ways in which Muske analyzes the politics and poetics of the family.
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Camouflage
(summary)
- Further Reading