inhibited first because all language is a compromise with lived experience, and inhibited secondly because the act of producing poems, of “being a poet” situated within prize and publication culture is a form of mediation. i want to write this way, but i found when I sat down to start, i was inhibited. I want to produce work that embodies the collapse of linear understanding that occurs during and following trauma, provoking what literary theorist shoshana felman has described as a “disintegration of narrative”. my research will explore the idea that the epistolary form is one way in which this process takes place. ![]() assimilated, integrated, and transformed into some kind of narrative language. her work examines strategies by which trauma may be “told”, i.e. her analysis argues for a literature of trauma that communicates in indirect and unexpected ways. My work is mainly concerned with what cathy caruth defines as “impossible saying”, the narration of trauma. i’ve spent my summer reading around this subject, trying to find a way into it, a critical framework for intuitive approaches i haven’t yet learnt to articulate. In october 2016 i’m starting a practice based ph.d at birkbeck on the relationship between the epistolary form in contemporary poetry and the use of letters in therapeutic contexts. what? the eye, inflicted frontier, forced to see against its will. a poem isn’t shared, a poem’s only ever stolen. ![]() ![]() i have been saying over and over: this isn’tįor you. i have given you this weĬonsummate a censorship. so what does this poem amount to? gentle reader,ĭotter of my every eavesdropped i. Now: to each action its own particular weight to each object its own “…a book might be opened, a letter’s only ever broken into.
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