For most of his career as a writer, Lawrence Joseph has stood outside the prevailing schools of poetry, but his uniqueness has been hard-won, and is the product of his evolution as a poet. Reading his four books of poems chronologically reveals not just the important continuities — his concern with identity, religion, language, and politics — but the important changes, all of which will come to define his exceptional place among his contemporaries. Hardly a static poet with a closed system of ideas and imagery, Joseph emerges over time as a poet with a clear sense of the world outside himself. In short, his poems begin with a hypersense of the self, expressed in numerous poems with the poet (the “I” of most of the early poems) at the center. But, as even a cursory reading of Joseph’s later books shows, the “I” has almost disappeared, replaced in effect by what Joseph calls in one poem (the title of which lends itself to the title of this Symposium): “the transparent eye.”[1] That poem also provides a template of sorts for Joseph’s entire work, against which we can measure his shifts in voice and vision: “Some sort of chronicler I am, mixing / emotional perceptions and digressions, // choler, melancholy, a sanguine view. / Through a transparent eye, the need, sometimes, // to see everything simultaneously / — strange need to confront everyone // with equal respect.” The poet makes clear that his vision is democratic, looking up and down society with respect for all. And he wants to see it all at once: a synchronicity of experience that encompasses both the street and skyscraper. He will accomplish all this with many emotional responses and plenty of pertinent digressions, and we can expect little humor or exuberance, but lots of somber, sober thought. As he tells us in an earlier poem, “Not Yet,” in words reminiscent of Saul Bellow’s Augie March, himself another urban ethnic: “I want it all” (21).
