Category Archives: Erin Moure

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 :(){ :|:&; };:”

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”

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_”

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”

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”

“Clear speech be damned, it’s part of the logos of The Same that shuts us out, us women” – Erin Mouré Continuing my work in the feminist avant-garde, and in my last section on feminist poetics, I would like to turn to the work of Canadian poet Erin Mouré, whose poetry, much like that ofContinue reading ““What may the dictionary insist?”: Archiving _Pillage Laud_”