Anarchism and the Experiment: “Poetry is radically communal”

The concept of language as a part of the common is one shared, implicitly, by all the poets in my project, in some form or another, but it is articulated most clearly and explicitly in Duncan’s work. For example, in a late poetic series, Dante Études, he writes: Go, my songs, then in zealous liberality,Continue reading “Anarchism and the Experiment: “Poetry is radically communal””

Anarchism and the Experiment: How do we read the illegible?

To work against the relatively[i] conservative scholarship of Perloff, my project employs, perhaps contentiously, the work of Craig Dworkin, who often works closely with, and pays homage to, Perloff. To be sure, Perloff’s extensive bibliography has done its part to bring radically experimental poetry to the forefront of poetic study in the last twenty years.Continue reading “Anarchism and the Experiment: How do we read the illegible?”

Anarchism and the Experiment: Who is the author?

Because I have privileged authorship (and its destabilization) as the most important aspect of the experimental poetic text, I should here spend some time discussing what experimental authorship entails, and how its problematizing of traditional authorship is a politically-charged activism. As with any contemporary discussion of shifting perspectives of authorship, this discussion begins with theContinue reading “Anarchism and the Experiment: Who is the author?”

Anarchism and the Experiment: What is an experimental poem?

It is important at this juncture to define the parameters of the experimental poem for my work. I have opted for the term “experimental”[i] over the term “avant-garde”[ii] for a number of reasons, not the least of which is the military connotation of the latter. I also employ Graeber’s skepticism of vanguardism, which is, IContinue reading “Anarchism and the Experiment: What is an experimental poem?”