Get Traumatized: Reading Statement of Facts as Binge-Watching Law and Order: Special Victims Unit

As with my second plateau on Goldsmith, I am interested in the ways that the reader of Statement of Facts is made less free in the process of his or her reading. Obviously, this argument is a controversial one; after all, conceptualism is predicated on the lack of intention on the part of the author,Continue reading “Get Traumatized: Reading Statement of Facts as Binge-Watching Law and Order: Special Victims Unit”

Vanessa Place: Stating Authoritatively

The first book in Vanessa Place’s Tragodía trilogy, Statement of Facts, has—like the Goldsmith text of my last section—caused quite a stir in the poetry community. Place is a poet who works her day job as a lawyer representing sex offenders, and Statement of Facts sees her reframing the narratives of her work, appropriated fromContinue reading “Vanessa Place: Stating Authoritatively”

The Wizard of Soliloquy: Affect and the Digital Conceptual Text

In Uncreative Writing, Goldsmith cites Marjorie Perloff’s idea in Unoriginal Genius that an updated concept of literary genius would account for “one’s mastery of information and its dissemination” (1), and would thus have nothing to do with the dissemination or transport of affect, emotion, or feeling. In many ways, Goldsmith’s numerous poetic projects carried outContinue reading “The Wizard of Soliloquy: Affect and the Digital Conceptual Text”

Kenneth Goldsmith’s “truly populist” Soliloquy

I would like to start to bring this project to a close by way of a coda on conceptual writing, which will last for the next four weeks and will include two five-page discussions on each of the following four poets commonly associated with the conceptual school: Kenneth Goldsmith, Vanessa Place, Christian Bök, and DarrenContinue reading “Kenneth Goldsmith’s “truly populist” Soliloquy”

On Pillage Laud as :(){ :|:&; };:

In the first essay proper included in My Beloved Wager, “The Anti-Anæsthetic,” Erin Moure navigates the impossible and contradictory spaces of the writing self in poetry. In my final plateau on her work, Pillage Laud, I would like to focus primarily on this poetics piece—while, at times, dipping into other essays included in this collection—toContinue reading “On Pillage Laud as :(){ :|:&; };:”

Em(body)ment and Queer Sex

As with many feminist embodiment projects, the text is clearly aligned in Pillage Laud with the (eroticized, female) body. The examples are plentiful, and I open this plateau with a few that draw this parallel most clearly. For the most part, the text seems to suggest that the poems embody the lover’s body (the lyricContinue reading “Em(body)ment and Queer Sex”

“To march is writing”: Anarchism and Resistance in _Pillage Laud_

In light of these discussions of readership, authorship, and anti-archive, I should at this juncture spend some time discussing the role of politics proper, and for the sake of this project, of anarchism, in Pillage Laud. The text is at once clearly politicized—by virtue of the necessarily antitraditional positioning of the texts as lesbian sexContinue reading ““To march is writing”: Anarchism and Resistance in _Pillage Laud_”

“My line (article) has sighed”: Authorial Subjectivity and Technology

But, as postanarchism repeatedly insists throughout this project, a discussion of readership and the reading process is incomplete without being accompanied by a study of authorship and the process of producing a text. In a text such as Pillage Laud, which seems to flaunt its experimental and unique authorial practices, this issue has not goneContinue reading ““My line (article) has sighed”: Authorial Subjectivity and Technology”

“Those texts stain you”: Affectively Reading Pillage Laud

Unsurprisingly, many people who discuss Erin Mouré, and the few who discuss this work in particular, draw attention to the role of the reader. In Rachel Blau DuPlessis’s article, she argues that the reader of Pillage Laud performs the text, and that the reader is thus a writer as well, but only insofar as theContinue reading ““Those texts stain you”: Affectively Reading Pillage Laud”