Viewed as congenitally (rather than culturally) particularistic, the woman artist is doubly condemned to produce inferior works of art: because of her close association with nature, she cannot but replicate it. (11)
Wouldn't her time be better spent replicating human life? is the suggestion implicit in the ideology Schor is describing here.1
“The fatal problem with poetry: poems,” says Ben Lerner (32). What he means by this is that each actually existing poem stands a monument to the unrealizability of the utopian hope that we call “poetry.”
Lerner has some interesting things to say about poetry and its relationship to work, the desire and the worry that writing poetry not be work. Poetry is utopian insofar as it seems to offer an alternative to “getting and spending,” an order of work that is also seamlessly a way of leaning and loafing at one’s ease; hence the defenses. That very utopian possibility also seems a monstrous indifference to the brutalities of being constrained to sell one’s labor in order to live; hence the denunciations.
“I, too, dislike it.” It’s the title of Mia You’s new book from 1913 Press; it’s also the opening gambit in Ben Lerner’s recent book The Hatred of Poetry, a book that takes Moore’s gesture of self-distrust as emblematic of poetry itself, an art “defined for millenia...[by] a rhythm of denunciation and defense” (10).