Elizabeth Freeman

On Elizabeth Willis's 'Address': (queer) space and the chrononormative

Davy Knittle

Writing puts texts in space. The procedural language of critical synthesis is inherently spatial. Thinking about connections between texts, or the bringing of texts together in an essay, simulates the positioning of objects in space. Often, writing makes texts architectural — it uses them to build, and uses the metaphorics of building. I want to use this essay to write between Elizabeth Freeman’s Time Binds and Doreen Massey’s Space, Place and Gender, texts seminal to queer temporality and to feminist geography, respectively.

Recently in Jacket2

January 2021 open reading period

Call for submissions

Jacket2

Jacket2 welcomes unsolicited queries during the month of January 2021. We are especially (though not exclusively) interested in queries of the following kinds: reviews of recent books or anthologies of poetics criticism and theory; reviews, articles, or essays that put texts, authors, or movements in conversation; articles, essays, or features on the ephemeral, the local, or the emergent; on poetic movements, topics, or groups, rather than single authors; articles, reviews, and features that engage with multilingual poetry and/or criticism, and/or poetry in and theories of translation; etc.

Jacket2 welcomes unsolicited queries during the month of January 2021. We are especially (though not exclusively) interested in queries of the following kinds:

— Reviews of recent books or anthologies of poetics criticism and theory

— Reviews and articles devoted to poets and poetries outside the US

— Reviews, articles, or essays that put texts, authors, or movements in conversation

— Coauthored reviews or essays

— Articles, essays, or features that engage with poetics during the COVID-19 pandemic

What is poetry?

A response to a request for 500 words on this small topic

Al Filreis

Whenever poetry becomes a topic movingly discussed by many people for whom it is not a daily—indeed, not even a monthly—thing, I realize once again what draws me to it ever and always. In a poem, how you say what you say is as important as, sometimes more important than, what you say. Is that a radical view? After all, content is central to communicating. But what about times when communication has broken down? If Allen Ginsberg in writing and performing “Howl” did not in the poem itself emit such a howl—if he did not himself evince the “mad” non-conformity he saw in the best minds of his generation—we would no more remember his poem today than we do the many smart and interesting books of sociological nonfiction written during the 1950s about the supposedly disaffected (but actually, hyper-affective) postwar generation. PennSound (the archive of recordings of poets, the largest in the world) includes the riveting performance Ginsberg gave before a huge, engaged, at times ecstatic audience in Chicago in 1959. How Ginsberg says “Howl” is as important as what he says, for sure. Words about crying out can themselves cry out.

Someone at my university who edits and publishes a newsletter asked me if I would write 500 words on what makes poetry distinctive I balked at such a task. But then decided to produce the statement. For better or worse, here it is.

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Toward a poetry and poetics of the Americas (30)

'That Da Da Strain'

Jerome Rothenberg

Mamie Medina (lyrics)

THAT DA DA STRAIN