“Why should I — proud engineer — be ashamed of my machinery?”
In her poem “The Modest Woman,” published in the modernist literary magazine The Little Review in 1920, the Baroness Elsa von Freytag-Loringhoven derides the prude and celebrates the female body and modern form.
For readers of Gatza who have already come to expect the unexpected; for those fascinated with emerging innovation in book-structured polygraphies, then House of Forgetting is yet another contribution to what is becoming a prodigious oeuvre.
I recently asked my students to engage in a “dialectical journal” activity in our William Carlos Williams class. There are many examples online of what teachers refer to as a “dialectical” or “double entry journal,” in which students use multiple columns on a page to react to specific phrases and passages from a text. The dialectical journal is a popular tool in secondary schools and undergraduate curricula, and ranges from the relatively simple act of gathering reactions to a text to more complex methods of translating reactions into critical assessment and reflection — visual connections, social questions, naming literary techniques, generating a thesis. Essentially, the dialectical journal is a physical template for the kinds of annotating and close reading we do all the time: a kind of spreadsheet to track what different parts of the text are doing, and what kinds of reactions we have to them. What I found in the Williams class, however, is that there is something even more dialogic going on than creating a conversation between readers: the genre of the text seems in some ways to determine the form of the reader’s own writing.