Critics of the Canadian poet Anne Carson tend to unduly fixate on her fame. “Is Anne Carson the first poet with more fans than readers?” posited one critic’s attempt at a takedown. (The answer, in accordance with Bettridge’s law of headlines, is no; Homer was obviously the first.) These qualms mostly have to do with the institutional praise that her “relentlessly cerebral” work has received. Carson is accused of being “all surface [and] no body.” Her formidable style, according to her harshest critics, is a formal excuse for not making any good sense.