A review of Calvin Bedient's 'The Multiple'
Calvin Bedient’s fourth full-length volume of poetry, The Multiple, realizes the lines of multiplicity initiated by his previous three collections (Candy Necklace, 1997; The Violence of Morning, 2002; and Days of Unwilling, 2008). These earlier collections suggest the plurality of experience by gathering and juxtaposing snapshots of perspective to insinuate the whole. The Multiple takes this approach a step further by explicitly pointing its particular sampling of reality’s permutations toward the infinite outline of the unexcavated majority. The poems of The Multiple are as interested in communicating the negative space of what can’t be captured as they are in the positive space of what can. Bedient’s unwavering fix on the subjectivity of everything unleashes a “huffing accordion commotion” whose implied poetic production spreads well beyond the constraints of the physical book that delivers them. “Becoming’s a broken idea,” these poems insist (16).