Robert Lowell's Still Lifes and the Market Economy of the Poetic Profession

In the 1970s, Robert Lowell began to feel financially constrained or insecure. He therefore occasionally meditated on poetic art that would cater to consumerist cravings in the fashion of Dutch seventeenth-century still-life artists and French painters of food such as Chardin and Manet. In his descriptions of dishes and laid tables, Lowell toyed with poetry’s ability to construct images of pleasure and obscure the work and procurement mechanisms necessary to obtain these commodities. The poet began to wonder about the market value of such poetically constructed comforts. However, Lowell was also aware of his dissimilarity to the classical still-life artists. His own attempts at representing foodstuffs are irresolute. Moreover, they are volatile, easily giving in to various reflective moods such as vanitas or ethical ponderings on labor. Almost never can Lowell’s poetic still lifes be experienced purely sensually. His lack of enthusiasm for such a commodity poetics helps explain the decline of Lowell’s posthumous reputation in the subsequent decades.