Ritual and Assemblage: Reading Hybrid Elegy Through Changing American Death Practices

In American Hybrid (2009), Cole Swenson describes hybrid poetics as a reconciliation between the two dominant poetic traditions of the 20th century, which might be called lyric and experimental (xx–xxi). More recently, however, “hybrid” refers to any work blurring boundaries between poetry and other genres. This is most notable in the ever-increasing interest in the lyric essay but also in the constant revision of contemporary elegy as anti-elegy. In Poetry of Mourning, Jahan Ramazani defines anti-elegy in terms of its refusal of consolation and instead its seeking of more melancholic mourning. Subsequently, as noted by Bardazzi, Binetti, and Culler, “Elegy remains a poetic genre and yet, it has also developed a ‘mode of discourse’ that moves beyond its literary borders and finds its expressions in entangled intra-actions between the most diverse range of elegiac objects”. In the early 21st century, hybrid elegy represents the collision of two major changes in American culture: the changing nature of American death rituals and the increasingly intermedial literary landscape. Drawing on examples from Nox by Anne Carson and Ghost Of by Diane Khoi Nguyen, an elegiac version of the hyper-personalized American death ritual is inscribed in assemblages of images and text on the page. When read as a personalized American death ritual, the hybrid elegy materializes its own tradition and poetics, which are expressed in the poetic constraints of assemblage and recognizable in their reliance on elegiac repetition.