By N. Marsh
This e-book vitamins latest narratives of feminist poetry through studying how modern girls poets have interrogated what it skill to be public. It attracts on contemporary debates in democratic conception and third-wave feminism to discover the paintings of girls poets as different as Susan Howe, Rita Dove, Jorie Graham, Harryette Mullen and Leslie Scalapino. It examines how those poets supply a critique of the normative conventions of U.S democracy, rather its assumptions approximately private and non-private, and use their writing, and its cultural constructions, to version choices to them.
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Extra info for Democracy in Contemporary U.S. Women's Poetry (American Literature Readings in the Twenty-First Century)
The centrality of this tension between rational responsibility and libidinous chaos to a democratic poetics is further developed in the work of Susan Howe. Howe, drawn to the antimonian traditions of Emily Dickinson and Wallace Stevens rather than to the bardicism of Whitman, Ginsberg, or Hughes, has come to increased prominence in the past two decades. Although Howe’s innovative, abstract poetics seem a far cry from Jordan’s explicit intervention in institutional debate, her critique of the vested interests concealed by American exceptionalism echoes much from Jordan.
The poem appears to move through the psychic and literal landscape of the newly colonized Americas. “Complicity” battles “redemption” as Howe strives to realize the “Original of the Otherside / understory of anotherword” and to acknowledge that “the origin of property / that leads here [ . . ”106 The final poem in the collection, “Scattering as Behavior Toward Risk,” seems to highlight the anarchic ethics for representing responsibility that this investigation into democracy involves. ”108 Yet the poem also seems more knowing and specific about its relationship to the political codifications that form this landscape than perhaps this language of phenomenology suggests.
She seems to well know that the modern democratic project needs to rethink the formative tensions between not only identity and difference, but also the relations of production and consumption and the false equivalence between “access” as a social right and “accessibility” as simplification embedded in Habermas’s model of the public. Rather than simply assuming the coincidence of “poem” and “political action” Jordan interrogates the potentially uneven match between her writing’s insistent re-signification of the frames of representation and the more literal economic and pragmatic influences that controlled the thresholds for public participation.
Democracy in Contemporary U.S. Women's Poetry (American Literature Readings in the Twenty-First Century) by N. Marsh