The poet and literary critic Hillary Gravendyk organized a roundtable on the “Poet-Scholar” for the 2013 MLA Convention in Boston, with participants Juliana Spahr, Jennifer Scappettone, Julie Carr, Heather Dubrow, Margaret Ronda, and Barrett Watten.
I have an autobiographical relation to the poet-scholar category. I wanted to be a poet. I went and got a PhD in English with the idea that even the TA line would be a sort of day job, and at the time they felt not quite related. My first job was as a scholar. My second, and current, job is as a creative writer. There is nothing unique about this story, so I will present it as an anecdotal example. I will in these notes just quickly attempt to enumerate the terrain which I think might explain how we have found ourselves at a panel on the poet-scholar at the MLA in 2012.
Fidelity to the shapeliness of poetry, in an academy of prose, because knowledge is inseparable, we insist, from the texture and pace of its approach. Knowledge is not front-loaded, though the presiding timeline of production demands it be so. It’s a dawning: ambient, but nonabsorptive, with myriad ports of exit and entry.
In the summer 2012 issue of n+1, Nicholas Dames has a pretty good essay describing how contemporary realist novelists of what he calls the “Theory Generation” — educated in American universities after 1980, steeped in deconstruction and poststructuralism — have been “thinking back on their training.” In their novels (including The Corrections, The Marriage Plot, The Ask, A Gate at the Stairs), “contemporary realism has its revenge on Theory” by treating it, in bildungsroman style, as one of the educational “follies of
Contemporary so-called “innovative” or “experimental” poetry’s fascination and engagement with the theoretical and the critical owes a lot to the Language poets, who, though not the first to approach the composition of poetry as an intellectual enterprise, did offer what Marjorie Perloff characterizes as a “rapprochement between poetry and theory” that could serve as an alternative to the increasingly anti-intellectual creative writing classroom of the 1970s.
A long time ago, in a galaxy far, far away, and at an institution I won’t name except to say that it isn’t Fordham University (my current affiliation), a former chair was explaining his general policies on raises.
As I am a poet-scholar, or, a person who reads and a person who writes, a person who researches and a person who invents — a person who teaches and a person who edits — I can only consider the question of the poet-scholar from the inside — and so, what follows is a subjective and gendered account of the position of the poet-scholar in the form of a list numbered 1–10.