Andrea Quaid

Urgent possibilities

Digital feeds at the end of March seemed like a dire rush of pandemic and political news; however, at moments, one may have seen a flood of posts that featured the gorgeously designed cardboard boxes of Urgent Possibilities, Writings on Feminist Poetics & Emergent Pedagogies light up the streams as a buoying intervention.

On feminist poetics and pedagogy

The first thing I want to say to you who are students, is that you cannot afford to think of being here to receive an education: you will do much better to think of being here to claim one … 

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  • 'Tender Buttons' at 100

    Gertrude Stein’s Tender Buttons begins with “A CARAFE, THAT IS A BLIND GLASS,” and with an insistence on the nonmetaphoricity of either object. This first entry famously closes with the line, “The difference is spreading,” and it does, as Stein’s “is” is at denotative work throughout her text.

    “A SHAWL” from the section “Objects” reads:

    A SHAWL

    A shawl is a hat and hurt and a red balloon and an under coat and a sizer a sizer of talks.

    What is the relationship between Conceptual art and conceptual writing?

    What constitutes conceptual writing is still up for debate. For more than a decade, poets and critics have been claiming, reclaiming, or disclaiming the territory of conceptual writing. Who's in? Who's out? What are its limits? Isn't all writing somewhat conceptual? Or, conversely, doesn't the very act of writing preclude any kind of pure conceptuality? But in all the back and forth, two facts remain firm. One, that conceptual writing — however we define that term — has come to represent a new avant-garde in poetry and poetics. And two, that the term conceptual writing alludes to Conceptual art. Now that we're at least eight minutes in to conceptual writing’s fifteen minutes of fame, it’s time to query that relationship. Is poetry just 50 years behind the art world? Or are so-called conceptual writers up to something else? — Katie L. Price 

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