Democracy in Contemporary U.S. Women's Poetry (American by N. Marsh

By N. Marsh

This ebook supplementations current narratives of feminist poetry through reading how modern ladies poets have interrogated what it skill to be public. It attracts on fresh debates in democratic idea and third-wave feminism to discover the paintings of ladies poets as diversified as Susan Howe, Rita Dove, Jorie Graham, Harryette Mullen and Leslie Scalapino. It examines how those poets provide a critique of the normative conventions of U.S democracy, quite 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)

Sample text

Yet these two alternative models for representing a democratic space are clearly not entirely mutually exclusive. ” Similarly, Howe’s persistent attention to the cultural biography of texts, her suspicion of the social and economic networks of distribution, echoes Jordan’s damning of the role of the literary marketplace in inhibiting a Whitmaneseque democratic public. S. literary culture to provide a space for radical democratic critique. The vocabulary for a feminist-democratic poetics that I am suggesting in this chapter relies upon a sensitivity to the similarities, as well as to the more familiar differences, between these poets.

The tensions between Wendy Brown’s railing against the institutionalization of political resistance and Patricia Williams’s insistence on the necessity of expanding its possibilities to include notions of ethics and responsibility are given an alternative form of resolution in Jordan’s work. S. 71 The Collaborative can be clearly read against these debates. 72 As with these other bodies, such collaboration bore deeply ambiguous fruit. On the one hand, it was a clear attempt to exploit these changes in order to resist the worst excesses of the increased technocratic emphasis of the academy.

The young man rebuilds the house he and his father had stripped bare in order to create a home for himself and his lover. It is a home without a hallway “that mean every part of the house is real. ”82 The reception of the book is telling about the details of Jordan’s struggle to realize the forms of the public that the book describes. 83 FEMINISM AND DEMOCRACY 29 Jordan’s detailed engagement with the kinds of claims that can be attributed to the intersection of identity and literature are similarly clear in her intervention in a late twentieth-century politics of Diaspora that extend beyond the potentially self-consuming attention to the politics of the literary academy.

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