Juliana Spahr

'Prickly new cells'

Diffractive reading and writing in Juliana Spahr's 'The Transformation'

One of my white blood cells amidst many red ones. Microscope photograph produced with the assistance of Jeff Stuart and Lucas Maddalena in Jeff Stuart's laboratory at Brock University.

Some of the most extreme acts of writing now being composed in the capitalist Anthropocene are being performed by petrochemicals. What does it look like to write in response to this writing? How do we “make oil a more conceptually powerful part of our knowing,” as Imre Szeman suggests must happen as part of any larger political activism?[1]

August 2, 2019

That unnoticed & that necessary

On the reproductive labor of self-effacement

Inscription inside my copy of Tell Me A Riddle

One thing I really admire about women is that we’re able to put up with a lot of shit while still smiling. That takes a lot of discipline and strength. But we all have our limits, and sometimes we have to learn how to tell the shit to fuck off. Tillie Olsen’s 1978 book on Silences keeps coming up in conversation lately. The chapters explore various kinds of silences in literature, with references to Rebecca Harding Davis, Thomas Hardy, Willa Cather, Jean Toomer, Charles Baudelaire. Olsen’s book argues how a writer’s circumstances, as produced by society’s delineations of race, class and gender, can stifle creative expression.

April 16, 2016

Feel beauty supply, post 10

Hurston on loafing and loitering

Whenever I think I might be being too thin in my thinking about aesthetic practice, someone says something in agreement with my thoughts, though more bookishly and then I see that I’m right, even in my simplicity. Like when I was procrastinating this weekend on writing on my promised account of Hurston’s Mules and Men I went on twitter where Anne Boyer tweeted this quote from Pierre Macherey: “To deprive the bourgeoisie not of its art but of its concept of art, this is the precondition of a revolutionary argument.” I like this sentence because of the “its” and the “its concept of.”

August 27, 2015

Of the relational local (1 of 2)

A resurgent ecopoetics post-conference ‘plenary’

In “Gentle Now, Don't Add to Heartache,” Juliana Spahr offers a narrative of the displacement of human imagination defined by creaturely and vegetal affiliation and transelemental immersion in the natural world. Lists of nonhuman species imply an abundant, connective world, and these same are beseeched not to “add to heartache,” prior to their replacement by chemical-industrial products later in the poem.  “We come into the world / and there it is” – the poem’s opening lines prompt.

July 23, 2015

On the poet-scholar

Hillary Gravendyk (photo courtesy of Benjamin Burrill).

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.

June 8, 2015

The time of the poet-scholar

Juliana Spahr

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.

June 8, 2015

Uses of the useless

Against the division of poetry and scholarship

Hillary Gravendyk
Photo courtesy of Benjamin Burrill.

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.

June 8, 2015

'Chain' interview (pt. 1) and statement for OEI

Chain Letter icon, Chain no. 1, designed by AnJanette Brush
Chain Letter icon, Chain no. 1, designed by AnJanette Brush

Opening an email conversation on Chain with editors Spahr and Osman, I sent the following two introductory questions:

1) In the final issue of Chain, you note that the intellectual (and actual) climate in Buffalo prompted you to begin the magazine. The first issue — one of only three edited while you were both in Buffalo — presents a brilliant response. Originally slated to publish writing by women, Chain no. 1 features an editorial forum on editing magazines, a transcription of a panel on the ethics of small press publishing, and a series of poems composed via chain letters. Perhaps we can begin with a conversation on your plans for this first issue. What role did you see Chain performing in the poetics community at the time, in Buffalo and further afield?

2) The editorial forum in the first issue is particularly illuminating — offering a fascinating survey of female editors on gender and the work of editing. You interrogate the format of Chain itself in a following section entitled “Editors' Notes: Frameworks,” writing:

It is impossible to make a frameless frame (although that is the vision from which this project derived). We have instead begun the journal with a forum that takes a look at how and why journals are created and in what ways questions of gender have informed those decisions. It sounds absurd to edit a journal that's about the editing of journals — a nightmare of self-reflexivity — and yet it is a way of creating a body that shows its own skeleton.


How do the preliminary editorial statements from the first issue read to you now? Opening with this intensive self-reflexivity, in what ways did surveying experienced editors inform your own editorial position(s)?

In response, I was cheered to learn that these questions in particular were addressed in a short statement the editors penned for OEI magazine. We've decided to reproduce that document in full here. The statment can be read as a retrospective introduction to Chain from the persepective of 2008, resurfacing along with the magazine online today.

September 17, 2012
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