Articles

'Unsayable secrets' of diaspora's bodily history

Of the many recognitions that rush to mind as I read NourbeSe Philip’s thirst-quenching essay, the boldest is the memory of a woman who, at a gathering of writers and scholars not many years ago asked me, in a hotly confidential tone, “but, Mecca, do black people really read?” She was a white woman much older than me, one who I knew, and who was very comfortable with her own relationship to words.

Is 'Zong!' conceptual poetry? Yes, it isn’t.

M. NourbeSe Philip. Photo by A. L. Nielsen.

In Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry, I discuss at length Harryette Mullen’s book-length blues epic, Muse & Drudge. Mullen is an African American poet whose work has been unreservedly embraced across a range of audiences as exemplary of black innovative poetics. Muse & Drudge — along with others of her books — is taught in courses designed to illuminate modernist and postmodernist genealogies within US poetry and, likewise, in courses surveying the tradition(s) of African American poetry. My analysis of Muse & Drudge identifies and problematizes the tendency for both of these contexts to produce (differently) skewed readings of this complex, polyvocal text.

Wor(l)ds interrupted

The unhistory of the Kari Basin

                                                    … site of massive interruptions    for the most part fatal    first nations  african  asian european life        interrupted  &

Mysticpoetics: Writing the alchemical self in Brenda Hillman's poetry

Brenda Hillman in 1997.

Brenda Hillman’s poetry circumnavigates around the overarching interest of spirit, matter, and everything in between. Even though Hillman’s work is often uncategorizable, she works within a vein that combines traditional lyric as well as more experimental forms. In addition, she incorporates various theologies and esoteric philosophies in her writing. Hillman has said of herself, “I think of myself as a mystic in a practical way.”[1] Hillman blends cultural references, nature, and the spiritual with an open lyric form that leaves room for mystical experiences to occur on the page. Hillman’s poetry can be read as enacting an alchemical process where spirit is turned into matter and matter into spirit.

Vsevolod Nekrasov: Nothing on the page

The more the words, the less the meaning, and how does that profit anyone? — Ecclesiastes 6:11

What does poetry do with language? This question, shouted and shrieked by various avant-gardes of the early twentieth century, became increasingly relevant for Russian poets during the Soviet period. In the 1920s and ’30s, many learned that even as poetry uses words to forge alliances and break windows, words in poetry can also cause serious trouble: they can get you fired or exiled or killed. In the slightly warmer but artistically stifled atmosphere of the mid-1950s, the poet Vsevolod Nekrasov (1934–2009) started asking: what can poetry do for words?