By Linda A. Kinnahan
Lyric Interventions explores linguistically cutting edge poetry through modern girls in North the USA and Britain whose experiments supply upward push to clean feminist readings of the lyric topic. The works mentioned by means of Linda Kinnahan discover the lyric topic in relation to the social: an “I” as a made from social discourse and as a conduit for change.
Contributing to discussions of language-oriented poetries via its specialise in girls writers and feminist views, this examine of lyric experimentation brings awareness to the cultural contexts of kingdom, gender, and race as they considerably shift the phrases during which the “experimental” is produced, outlined, and understood.
This research focuses upon lyric intervention in particular yet similar spheres as they hyperlink public and ideological norms of id. first of all, lyric techniques with visible and spatial geographical regions of cultural perform and which means, quite as they naturalize ideologies of gender and race in North the United States and the post-colonial legacies of the Caribbean, are investigated within the works of Barbara visitor, Kathleen Fraser, Erica Hunt, and M. Nourbese Philip. Secondly, experimental engagements with nationalist rhetorics of identification, marking the works of Carol Ann Duffy, Denise Riley, Wendy Mulford, and Geraldine Monk, are explored with regards to modern evocations of “self” in Britain. And thirdly, in discussions of all the poets, yet relatively accenuated in regard to visitor, Fraser, Riley, Mulford, and Monk, formal experimentation with the lyric “I” is taken into account via gendered encounters with serious and avant-garde discourses of poetics.
Throughout the learn, Kinnahan seeks to light up and problem the ways that visible and verbal constructs functionality to make “readable” the subjectivities traditionally aiding white, male-centered strength in the worlds of paintings, poetry, social destinations, or nationwide coverage. the opportunity of the feminist, leading edge lyric to generate linguistic shock at the same time with attractive dicy innovations of social intervention lends strength and value to the public engagement of such poetic experimentation.
This clean, vigorous learn should be of serious curiosity to literary critics and womens reviews students, in addition to poets on either facets of the Atlantic.
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Extra resources for Lyric interventions : feminism, experimental poetry, and contemporary discourse
The interstice of personal and community evidences lyric’s encounter with history. 13 Receiving generous critical attention over the past decade in discussions of experimental poetries, Howe is described in the ﬁrst book-length treatment of her work as “an avantgarde writer located ﬁrmly within an age-old tradition of lyrical poetry, even as she subverts many of the premises of that tradition,” combining the cultural work of the chronicler with “an equally intense and ﬁerce preoccupation with understanding and investigating the personal, the autobiographical, and the highly intimate” (Back 15).
It must be noted that at least half of these living writers had published three to ﬁve books by the time the Norton Women’s was being assembled. The message: don’t wait around to be discovered. Get to work and make your own. Billie Holiday said it best. (Fraser, “ Without a Net” 136–37) Conﬁrming the need to “make your own” as a form of creating a reading community, Canadian poet Daphne Marlatt would write in one of the ﬁnal issues of HOW(ever) that the “sense of companionship” supplied by the journal “is all the more appreciated as, at least here, the work of those of us who are writing, for lack of a better term, feminist post-modernism, continues to struggle against misreading, ignorance, disinterest — even from other women writers” (13).
He sees the “residue” of the lyric practice Language poetry hopes to negate nevertheless irrupting throughout the poetry and actually prominent in the critical writings of such poets. Charles Altieri reasserts the power of a lyric “poetry of affect” that explores “aspects of the emotions” to “understand the personal and interpersonal dynamics that circulate around affective energies” (“Intimacy and Experiment” 55). Such attention to affect and emotion within “experimental” texts relates to Altieri’s criticism of the dismissal of emotion within models of agency he associates with contemporary avant-garde theories of poetic form, which privilege “a commitment to locating ‘content’ for poetry primarily in terms of the qualities of linguistic materiality, internal and social, that the text foregrounds” (“Some Problems” 210 –11).