Monica Youn's poetry collection, Blackacre, is a complicated read that shows the importance and gravity of subtlety and repetition playing out in short lines, demonstrating perfect use of enjambment, occupied by a high elevated diction. Youn takes a concept and or image which she then branches off into multiple directions yet somehow creating a more interconnectivity within the poem. For example, the theme of real time progression, evolutionary and the oddities of influence are told from the narrative of a (supposedly) guilty perpetrator sentenced to be hanged in section one. Even though the narrative is seemingly of a man’s journey from persecution to the actual hanging the tangible narrative is merely a substitute to talk about the ideas of false accusations, the human depravity to want to stand witness to horrid events, as well as art and narrative finding birth in such unexpected places. Youn discusses such topics by having her titles act as a placeholder for the image freeing the poem of any such labor and focusing strictly on the language. A language that is fast paced, short lived, and yet incredibly deep and complex.
Youn uses a beautiful monologue language which is deceitfully abstract that creates a meaning bigger and more complex than what the title simply suggests. Youn's collection seems to be filled with a litany of poems, but truly Blackacre is read as if there are only four, each one representing a section. Each section's poems narrative and imagery occupies