All entries for Friday 06 August 2010

August 06, 2010

Poetry Papers at the CWWN Conference

Writing about web page http://cwwn.sdsu.edu/

A paper that I really enjoyed during the conference was by Jane Dowson , who was one of my external examiners for my PhD. We have many interests in common and I was pleased to see Dowson presenting on Kate Clanchy , Pascale Petit and Gwyneth Lewis . Dowson described these poets as inhabiting a New Confessionalism, which needs to be negotiated carefully. Dowson quoted Clare Pollard who suggested that ‘To revert to confessional mode now might be to reaffirm the cultural image of the “Mad Poetess”,’ and she commented on the hostile critical reception faced by Kate Clanchy on the publication of her collection about motherhood Newborn. Dowson condemns the dismissal of confessional poets and uses her ‘new critical grammar’ to discuss Pascale Petit and Gwyneth Lewis. This means:
• paying attention to ‘the unsayable via symbolism, typography, rhythm, self-reflexivity’;
• ‘building alliance with the reader as eavesdropper, confidant/e, listener-subject’;
• being aware of ‘the pleasure and healing of recognition, shared intimacy, community, imaginative expansion’;
• and paying particular attention to intertextuality.

One of my favourite panels from the conference was “Sexuality, Danger and Money in Three Women Poets”. I went along to this panel because it was on three poets that I do not know quite so well; I had never come across Arielle Greenberg or Katy Lederer but I had read a few books by Anne Carson (e.g. Decreation). Unfortunately, I had a farcical moment in this panel where all of my pens ran out of ink at once, so these notes are just from memory and are not quite as detailed as usual.

Darcy L. Brandel discussed Arielle Greeberg’s negotiations of language and violation. She focussed in particular of Greenberg’s interpretation of Marcel Duchamp’s art installation Étant donnés, which presents the viewer with a wooden door that has a peephole for each eye. Through the peepholes can be seen a naked mannequin and a lush landscape. Brandel discussed the ambiguity of this image: is the naked woman/mannequin powerful or powerless? Is she offering an invitation to the viewer or is she being violated? In her analysis of Greenburg’s poem ‘Given’, Brandel offered detailed analysis of the poet’s experimental use of language and outlined the poet’s condemnation of the artwork’s voyeurism: ‘in the afterlife—-is so accommodating a gift / of gaslight murdered by air’.

Next Paul Crossthwaite spoke about Katy Lederer’s collection The Heaven-sent Leaf, a collection of 45 almost-sonnets. Crossthwaite focussed on how Lederer brings together money and poetry comparing the two as systems with economies, values and currencies. Lederer worked as a “brainworker” at a hedge fund in midtown Manhattan, and the book was published at the beginning of the downturn in the world economy. Crossthwaite talked (among other things) about how bringing the language of finance into poetry lends it at times a prosiness that is in tension with the sprung and musical lines elsewhere in the poems.

The final paper was presented by Maya Linden on desire, danger and ambivalence in Anne Carson’s poetic form. Linden talked particularly about Carson’s collection Autobiography of Red and The Beauty of the Husband focussing on how Carson approaches femininity, masochism and self-destructiveness. Linden seemed to be suggesting that the ambivalence in Carson’s writing is a problem for more conventional feminisms and that there needs to be a more expansive kind of politics to understand Carson’s work.


CWWN Conference Pictures.

Writing about web page http://cwwn.sdsu.edu/

Conference 1

Sonya Andermahr (Northampton University), Sorcha Gunne (Warwick University), Katsura Sako (Japan)

Conference 2

Lara Buxbaum (University of Witwatersrand, South Africa), me, Sorcha Gunne (Warwick University), Jago Morrison (Brunel University)


CWWN Conference Panel: ďConstellations of Home GroundĒ.

Writing about web page http://cwwn.sdsu.edu/

Here are my notes on a panel on ideas of home at the CWWN conference . If you were there and I missed something, don’t be afraid to add a comment. It’s hard to remember all the details and I have terrible hand-writing in my notes!

The first speaker on this panel was Bonnie Kime Scott who discussed home as a domesticating term. The most memorable part of the talk for me was where Kime-Scott discussed Barbara Kingsolver’s book of non-fiction essays High Tide in Tucson, the title of which refers to a hermit crab that Kingsolver accidentally brings back with her from the Bahamas to her desert home. Kime Scott suggests that in writing about the transplanted crab, Kingsolver is articulating an ethics of care. Kime Scott also discussed a writer that I hadn’t come across before: Mary Lou Awiakta. Awiakta is a Native American author of the Cherokee tribe and Kime Scott explains that Awiakta presnts in her writing a sacred respect for the earth and for the “Earth mother”. Kime-Scott focuses though on an essay by Awiakta titled Baring the Atom’s Mother Heart , in which a history of Cherokee women is articulated through science: the quark, the atom’s mother heart, the eternal life-force that drives all human beings.

Nuclear energy is the nurturing energy of the universe. Except for stellar explosions, this energy works not by fission (splitting) but by fusion—attraction and melding. With the relational process, the atom creates and transforms life. Women are part of this life force. One of our natural and chosen purposes is to create sustain life—biological, mental and spiritual. (Nantahala Review )

This positive view of nuclear energy contrasts with the attitudes of many American writers, for example Terry Tempest Williams from Utah who wrote about the prevalence of cancer in her family after they were exposed to radiation during the nuclear testing in the Utah desert between 1951 and 1962. See her moving essay: The Clan of the One-Breasted Women .

Next was Pauline Newton who discussed home in relation to ideas of transplantation. Newton mentioned a few writers, but mainly talked about Jamaica Kincaid and her relationship with Wordsworth. Newton began though by discussing the symbolism of gardens in colonialism, noting the colonialist ideal of the garden/colony as a bounteous Eden. In her essay ‘Dances with Daffodils’ and her novel Lucy, Kincaid has described her feelings of disquiet about Wordsworth’s ‘Daffodils’, in part because she associates the poem with the colonial education system. Reconciling herself to the poem, however, Kincaid describes how her own garden has thousands of daffodils and she uses that garden to think carefully and deeply about troubling moments or aspects in history.

Finally Nancy Srebro spoke about Gurinder Chadha and her film Bride and Prejudice focussing on the different spaces that appear in the movie, including Amritsar in India, Britain and LA in the States. Chadha works out of the heritage film tradition and its sentiment for countryside spaces (especially England). Chadha, however, uses the visual style of the heritage film to focus on India and Indian women. So, in reworking Austen’s Pride and Prejudice, the Bennet family become the Bakshi family and Bollywood meets Hollywood. Srebro notes that in this meeting, a lush and visual India is contrasted against the homogeneity of LA, yet the India presented is a ‘Disneyland India’, which makes it all the more ironic that discovering an authentic India is one of the themes of the film.


Blossombones: The Freud Issue.

Writing about web page http://www.blossombones.com/current.html

I heard today that the new issue of the literary e-zine blossombones is up. The magazine is featuring a special issue on work that engages with Sigmund Freud (including two of my poems).


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