The Poetics of Absence: A Study of Picture Theory in Anne Carson’s Ekphrastic Poetry

Abstract

This study examines the role of ekphrastic poetry in Anne Carson's oeuvre through the lens of picture theory, exploring how her work reimagines the relationship between visual and verbal representation. Carson’s poetry, particularly in the collection “Short Talks,” is a radical engagement with visual art, where ekphrasis transcends mere description to interrogate the philosophical and emotional dimensions of viewing. The main argument of this research is that Carson employs ekphrastic poetry as a medium to question the stability of visual and linguistic meaning, using extant and lost artworks as metaphors for absence and fragmentation. The paper addresses three central questions: (1) How does Carson recontextualize ancient and modern visual art within contemporary poetics? (2) How does her engagement with art reflect her broader thematic concerns, such as eros, loss, and temporality? (3) How does Carson’s use of ekphrasis align with or challenge traditional form definitions? By situating Carson’s ekphrastic poetry within the theoretical paradigms of Picture Theory, this study argues that her work destabilizes the boundaries between text and image, inviting readers into a dialogue where the act of seeing becomes inseparable from interpretation and emotion. The study employs close readings of key poems, including “Short Talk on Mona Lisa,” "Short Talk on The Anatomy Lesson of Dr Deyman,” and “Short Talk on the End,” alongside theoretical frameworks from W.J.T. Mitchell on visual culture and semiotics. Carson’s fragmented and hybrid forms blur the distinction between visual and literary art, reconfiguring ekphrasis as an act of creation rather than mere representation. This study ultimately situates Carson’s ekphrastic poetry as a transformative force that challenges conventional narratives of perception and interpretation.