Sunday, June 17, 2018

...Male...Female..."Good" Poetry... (Table by Clara B. Jones)


Contrasts & Comparisons Between “Male” & “Female” Standards/Criteria For “Good” Poetry (very tentative...most comments in “Female” column represent my own impressions though some sound like stereotypes...my comments on Female poems strongly influenced by Alicia Ostriker who points out that some Female poets are said to write “like men” such as Elizabeth Bishop) and there are exceptions to every “rule” in each category. For what it's worth, I think that Early Ostriker & C.D. Wright write “like men”. Throughout Paul Fry's YouTube class on Literary Theory (Yale Courses), he is concerned with different literary standards, many of which seem extensions of Male “agency”. In general, and IMO, Fry “ghettoizes” women & AfAs (1 lecture on each category of these canons)...clara b. jones...21 January 2015...*



MALE FEMALE
Creates beauty that perturbs, not necessarily comforting Resolves conflict?, comforting?
Agency (“Thou art not August unless I make thee so.” Wallace Stevens (WS) Relationship “This is the oppressor's language, yet I need it to talk to you.” Adrienne Rich (AR)
Dominance-Subordinance (e.g, WS) Egalitarian (e.g., AR: “Abnegating power for love, as women have done....”)
Reification (“yillow” WS) “the thing itself”(“The cold felt cold until our blood grew colder.” AR)
Discourse begets Power & Surveillance (Michel Foucault) “When the wind tore our breath from us at last, we had no need for words.” AR (thus, Discourse not privileged?)
Language as a system of signs (Paul Fry [PF]) Same?
Speech as performance (PF) Speech personal, authentic
Language is Social (PF) Same?
Speech is a sum of agencies Speech as emotions, feelings?
Poetry is invention (Harold Bloom [HB]) Language is true communication, personal, authentic
Does one arrive at Meaning at all?...concern for Structure (Formalism) (PF) Concern for Meaning
Language has function (PF) Same?
Language brings consciousness into being (“trusts” language) (PF) Language belongs to the oppressor, thus cannot really trust...”A wild patience has taken me this far.” (AR)
“Good poets borrow; great poets steal.” T.S. Eliot Privilege honesty, authenticity, subjectivity
Poetry imitates Nature (Plato, Aristotle) Same?
The mind of Europe is more important than one's own mind. (Eliot after PF) Most would disagree...emphasize characteristics as per response to 1st Eliot quote (above)
Oedipal tension is the central tension/conflict (e.g., Freud, Lacan after PF) Mother-child/daughter relationship central?...may be source of conflict (n.b. Some French feminists are Freudians [Electra Complex?])
Is poetry an entity in a larger whole? Deleuze & other Post-modernists say no...(after PF) No...holistic...
Binary, hierarchical Holistic, Egalitarian
Subject-Predicate relationship, Agency (PF) “Rhizomic” (Deleuze, after PF), “organic”, privilege Subject, Egalitarian
Poetry presents the familiar in unfamiliar ways (WS) Familiar, local (“My power is present and local, but I know my power.” AR)
Poetry follows literary rules and stimulates the imagination (PF) Does not follow “literary rules” (Modernism?); not necessarily imagination but “the thing itself”
Discursive (language)= social= political= objective (Darby English [PF, DE]) Emphasis upon the subjective, psychological, & “interior”
Classicism (return to past; “true for all time”; Bourgeois perspective; “social” perspective [PF]) Utopian (unattainable?)
Metaphor Concrete, direct (primitive?, naïve?, “animal”?...see Helen Vendler [HV] on Adrienne Rich [AR])
Poetry may be an entity in a larger whole ?
Hierarchical, linear Holistic
Subject-Predicate relationship (agency, control, binary) Egalitarian
Ego, Superego Id (?...or, not Freudian)
Hard to separate Logogenesis from Psychogenesis (PF) Not hard to separate; Emotions & Psychology (Psyche) privileged over Language
Astrophysics (HV) Myth (HV, distinction made about AR's poetry)
Contained & disciplined (HV) “Hysteria”, “ghostly heat” (HV, distinction made about AR's poetry)
Metaphorical (PF; HV) Allegorical (HV, distinction made about AR's poetry)




Originally prepared for Asheville (NC) Women's Poetry Collective.





*Addendum, 6/17/18: see Formalist standards  used by many to determine what "good poetry" is
(e.g., see interview of Helen Vendler in The Paris Review)








...Claudia Rankine and Ta-Nehisi Coates (Essay by Clara B. Jones)


A Common Project Unites Claudia Rankine And Ta-Nehisi Coates

by Clara B. Jones

Currently, the topics of race and racism, dominate the US media, with Claudia Rankine and Ta-Nehisi Coates as central figures in the conversation. Rankine's collection of non-traditional poems, Citizen: An American Lyric (Graywolf, 2014; hereafter, Citizen), won, among other honors, the National Book Critics' Circle Award in Poetry, and Coates' book, Between the World and Me (Random House, 2015; hereafter, BWM), won the 2015 National Book Award for Non-fiction. Both of these authors have become “public intellectuals,” but critical treatments of these works are virtually missing from the conversation on race and racism. The present essay attempts, tentatively, to place Rankine and Coates in critical perspective, highlighting the commonalities and similar limitations, of their books. I suggest that these authors advance a liberal, rather than, a radical, meta-narrative characterizing race and racism as stable or essential traits based on a racial binary (African-American : White). There are conceptual limitations to their perspectives which we must challenge if we want to imagine a more radical future.

Institutional racism” and the racial binary as organizational frameworks

Both Rankine and Coates address aggression and violence—personal, social, economic, and political. “Micro-aggressions” among acquaintances and intimates are the particular concern of Rankine (“Language that feels hurtful is intended to exploit all the ways that you are present.”), while Coates, in his book-length “letter” to his son, is primarily concerned with the vulnerability of the black male body (“I remember being amazed that death could so easily rise up from the nothing of a boyish afternoon, billow up like fog.”). Rankine and Coates intend to expose oppressive conditions and “institutional [structural] racism” as causes of and explanations for conditions of African-Americans, particularly, the black underclass. The latter authors characterize institutional racism as a top-down system of beliefs, values, attitudes, behaviors, and conventions maintaining the social, economic, and political superiority of whites, while subordinating its victims. Rankine and Coates advance the perspective that institutional racism constitutes a system of rule-governed roles, norms, and expectations, particularly, via explicit or implicit legal formulations (e.g., work, gerrymandering, inequitable incarceration, media coverage). The authors describe oppressive conditions without advancing a radical critique, following, instead, liberal traditions that do not perturb the status quo by bringing about systemic change. The wide appeal of and popular support for these authors, then, might be explained by their proposals to reform the operations of institutional racism rather than to dismantle the elitist, hierarchical, and capitalist structures of which institutional racism is only one component.

The Rankine-Coates Project and Social Change

Rankine and Coates promote a pragmatic view that, in a democracy, equality should be maximized, inequality, minimized, a mainstream perspective. By suggesting that slavery's footprint causes the present oppression of African-Americans, the authors foster a “pessimism” about the country's capacity for progressive change similar to the state of politics after World War II when ideas of “social modification” were dampened by the realities of the Nazi era and the rise of state Capitalism. Radical critiques, on the other hand, promote tactics and strategies of social transformation.

Rankine and Coates limit themselves to descriptions of oppressive conditions rather than to analyses of social, political and economic contexts having the potential to unpack what the late British-Caribbean cultural theorist, Stuart Hall called, the “culture industry,” the production and reinforcement of cultural norms via social institutions and discourse (Citizen: “You hear one say to the other that being around black people is like watching a foreign film without translation.”; BWN: “The boy with the small eyes reached into his ski jacket and pulled out a gun.”). Neither Rankine nor Coates, however, links race and the ways it is manifest in society (e.g., via education, housing, income inequality, advertising, marketing) to broader national and international conditions (e.g., global poverty, climate change, free-market Capitalism), promoting contemporary “identity politics” rather than a broader vision of resistance incorporating, following Hall, “difference” (rejection of binaries), “self-reflexivity” (rejecting the “universal” speaking voice such as “institutional racism”), and “contingency” (recognizing change in individuals and societies). In order to advance a radical critique, Rankine and Coates would need to promote fundamental structural change in American society and in Capitalism that would bring about a new, more equitable, cultural and social architecture, not only their suggested, moderate improvements in the ways that whites and blacks engage with one another, including, improved racial accord and the advancement of blacks.

Hall went on to point out that social change must be motivated by action; however, agency by African-Americans is virtually missing from Rankine's and Coates' projects that depend, instead, upon scenarios whereby victimizers (“whites”) free their victims (African-Americans) from oppression and subjugation. Thus, the Modernist meta-narrative (“institutional racism”) of the Rankine-Coates project depends upon a comprehensive world-view rather than a Post-modern understanding that social, economic, and political relations are fractured, changing, and unstable processes, and, in this sense, their world-view is an appeal to emotion rather than to reason (Citizen: “Aren't you the one that screwed me over last time here?”; BWM: “I felt the fear in the visits to my Nana's home in Philadelphia.”). One searches without success in Citizen and BWM for materialist concepts that are pragmatic and that situate the oppressed and the oppressor in complex, differentiated relation to each other. Thus, the potential of the Rankine-Coates project for radical change must be challenged and is, possibly, undermined, by ideas and concepts fundamental to contemporary progressive thought. This is to say, a truly radical critique of social relations would outline pragmatic initiatives to address and to change the causes and consequences of racism as one symptom of broader deficiencies in the structuring of social, cultural, and economic relations in America.

Conclusions: the Rankine-Coates Project and Discourse

Following progressive formulations, race is a “construction”, not only, a “construct,” since race is “performed” by individuals in society. Power is “discursive” (based on reciprocal communication), a function of spoken, written, and behavioral discourse, so that its understanding becomes something more than enforcement by authorities (the police, the military, the central government, the law as institutional/structural racism). From a radical perspective, power is, also, enforced via social relations (public education, norms, voting, advertising), and these relations must be changed in order for sustainable societal change to occur. Citizen and BWM, then, cannot pertain only to victimized African-Americans since African-Americans and non-African-Americans participate discursively among themselves, creating “alliances” among “citizens.”

Just as the discourse of power can reinforce individual and social norms, so might it, according to Stuart Hall, generate “sites” of opposition or conflict, “margins” from which change might arise. Since discourse requires transactions between and among African-Americans and other “citizens,” Rankine's and Coates' projects, ultimately, fail because both avoid critiques of power manifested as actively complicit transactions among “citizens” as they interact personally, socially, economically, and politically (Hall's “culture industry”). A radical critique would formulate how these interactions, and the institutions within which interactions take place, should be and could be restructured. Recent publications by Rankine (C. Rankine & B. Loffreda, Eds., The Racial Imaginary, Fence Books, 2015) and Coates (“The black family in the age of mass incarceration”, The Atlantic, October 2015) continue to suggest that neither author is situated to call for an oppositional program of social, economic, and cultural change. Instead, Rankine's and Coates' projects seem to promote liberal, non-threatening, and familiar portraits of race and racial reform in America rather than disruptive, radical calls to action that would significantly modify the fundamental architecture and functions of institutions themselves.

Originally published in Entropy.





















Saturday, June 16, 2018

Sexual abstinence...whole-body mindfulness (Essay by Clara B. Jones)


Sexual Abstinence as a Form of Whole-Body Mindfulness

Clara B. Jones

Simone de Beauvoir, French philosopher and intellectual, claimed that women are not born but made. I begin the present article about my non-linear path to Sexual Abstinence with a self-disclosure: my self-presentation as a woman holds a very high position among my most valued personal concerns. My focus on womanhood as a category of traits is, in effect, not so much an expression of sensuality in relation to the spaces that I inhabit, but, to a greater degree, controlled projection of my own personal statements, including, my own voice.

Some philosophers have claimed that most lives are boring, not worthy of conversion into personal stories for others’ consumption. I am inclined to agree, primarily because confessional postures seem, often, to reflect self-absorption, if not overt demands for attention. In the present personal statement, I attempt to devise a middle-ground between reserve and arrogance. A concern persists that recounting elements of my life experience will prove uninteresting and disappointing to the reader. There is, also, concern that, following American Indian proscription, sharing private and individual matters violates my own relationship to self. It seems appropriate, however, that sharing personal experiences is productive and justified to the extent that the individual material can be framed to impart lessons with interest, possibly, significance, to others. As a modest goal, this essay is intended to employ the voice of one adult to encourage other adults to consider the topic, sexual abstinence, in novel ways.

Coming of Age and Sexual Power
Many young women of my generation married as teenagers with conventional expectations about family and their roles in it. I did not have customary expectations, but I was certain that I could live as my maternal grandmother, Clara, had, a hausfrau devoted to husband, children, and hearth. I had not yet read the French intellectual, Francoise Giroud and had not yet tested my capacities for independent living. Indeed, the previous choices seemed remote because I had successfully repressed their possibilities and, in particular, had no experience with the skill sets required for personal agency as well as for self-empowerment and self-confidence. Alternatives to marriage seemed, ultimately, more unsettling than the lack of emotion I felt for my new husband who, generously, had offered marriage as I faced expulsion in my second year of college. I imagined a promising and fruitful future, and, besides, our children would be physically appealing and bright.

Knowledge and Sexual Power
At the time of my marriage, I considered myself a social inferior, unable to act with self-definition, to confront living from a “grown-up” posture. It was my fate to marry, to become pregnant with three children within five years, depending, like a parasite, on another’s largesse. Martin E.P. Seligman’s “learned helplessness” experiments demonstrated a correlation between perceived self-potency and freedom. While a woman’s life is embedded in a social network, she can learn, like Seligman’s research subjects, to escape socially-imposed constraints. A female can combine and recombine physical, biological, social, and spiritual pathways towards a future that minimizes poor choices and co-dependence, towards a life that maximizes individual accountability. Helpless states, familiar to many women, may, also, promote social phobias and fear of evaluation by others as well as fear of success. I continue to experience social anxiety as a set of debilitating emotions, leading me to avoid many situations or to tolerate a significant amount of discomfort. .

Power Between Sexual Partners
Men and women write differentially of relationships, men with a concern for the universal and the instrumental, women for “local” relationships. Compare Wordsworth and Adrienne Rich (“I am present and local, but, I know my power.”). Compare Flaubert and Virginia Woolf (“Nothing was so solid, so living, so hard, red, hirsute and virile as these two bodies for miles and miles of sea and sandhill.”). As a graduate student in upstate New York, no book impressed me more than Giroud’s autobiography, I Give You My Word. Her talent for communicating time, emotion, and place and her own role in it revealed a woman wounded by love yet open to future experience, friendship, and change.

My copy of the volume became worn as several other female students read it, each of us making comments in the margins with a pen of a different color. We were captivated by this singular personality, who, from 1974 to 1977, served France as the first Minister for Women’s Affairs and Culture in Valéry Giscard D’Estang’s cabinet. Writing about Alma Mahler in 1988, Giroud observed, “No, she was certainly not just anybody, this young woman around whom men never ceased to buzz. Alma had the feeling that she really was a perfect example of a superior human being. This lofty idea of herself, so rare in women, this satisfied awareness of herself, was one of her striking characteristics.” Giroud might have been describing herself. This virtual absence of female archetypes in my life became a sign of my early self, alone and precocious, and emotionally impoverished. I am less in awe of Giroud today, but I am grateful for her role, or, my idea of it, in my psychological progression to womanhood, self-confidence, and, currently, sexual abstinence.

Sexual Abstinence Violates Cultural Norms
The power of conformity inhibits impulses to define, to name, to act contrary to group norms. As if characterizing females, Shelby Steele wrote of conformity that “amounts to a self-protective collectivism” leading to a “diminished sense of possibility”. Steele advocated “pushing the collective identity out of our individual space” in order to utilize the classically American and middle class profile of “hard work, self-reliance, initiative, property ownership, family ties, and so on”. A problem for many females (including myself), then, is the problem of personal identity.

I recalled Hans Christian Andersen’s, The Emperor’s New Clothes, while reading Steele’s book. The fairy tale, also, was a lesson about conformity. The Emperor’s subjects complied with the opinions of others, praising his non-existent robes, as women in the United States comply with traditional roles, socialization, authorities (parents, partners, labor defined by gender). The subjects of Shelby Steele’s essay conform to a political and social agenda demanding a construction of reality in which women are perpetually victimized by a hostile, dominant culture. In both accounts, individuals modify their beliefs, attitudes, values, and behaviors to match those of people and institutions influencing them. As if speaking of the status of women, Thomas Henry Huxley stated, “If individuality has no play, society does not advance; if individuality breaks out of all bounds, society perishes.” The foregoing ideas highlight states-of-being and challenges facing many women who may envision alternative paths to “compose” their lives.

Costs and Benefits of Sexual Abstinence
Sexual abstinence has offered me opportunities for reflection about my own relationship to self, my relationship to a potential partner, my relationship to my internal and external spaces. As a result, I have acquired the tools to evaluate these relations in an individual stimulating my aroused physical states, feelings, emotions, and thoughts, including, impulses to act on them. These processes of mindful presence facilitate my guided search for quiet observation, whole presence, uninterrupted concentration, and measured focus. These intentional exercises are not, in themselves, a search for “balance”, but, rather, a search for experiential symmetry and congruence, including, harmony of spirit, inside myself and with another person. Extending the philosophy of Perceptual Psychologist, Eleanor J. Gibson, these paths strongly influence my decisions to respond or not to respond to a potentially intimate relationship, however defined.

Since the 1980s, the aforementioned intentions have been immeasurably guided by a meditation technique, and by Paramahansa Yogananda’s teachings. I do not think that meditation or yoga is a necessary or sufficient element for intentional sexual abstinence. I do believe, however, that a necessary, though, not, sufficient, skill for women choosing sexual abstinence as part of their natural toolkit is the capacity to say, “No.”, calmly and believably, to herself and another person, even when strong emotions propel her to a different response. In my experience, this skill required 2 years of conscious and aware self-instruction and self-care, a learning program initiated by loving communication from a valued female acquaintance rather than by subjective insight. The narrative outlined in this essay has comprised multiple stages, leading to intentionality combined with serendipity whereby I surrendered fear of speaking with my own voice, an empowering process yielding self-confidence and, sometimes, overconfidence, a decidedly undesirable consequence.

From my perspective, other costs have resulted from my choices to abstain from sexual congress in any form. Perhaps the disadvantage of greatest concern to me is the degree to which that program requires, not only, physical, but, also, emotional detachment from a potential partner. Realization of emotional and mental intimacy is fundamental to friendship that, at my advanced age of 69, is not as challenging a task as it might have been when I was, for instance, 35 or 45. Nonetheless, I offer the idea that sexual abstinence need not be viewed as a long-term or, even, a mid-range state, but, rather, as an option used to enhance self-exploration and self-agency, similar to the goals of a transformative spiritual retreat. I am not advocating sexual abstinence, per se, but asserting, simply, that, combined with self-pleasure in many forms, this process of conscious and aware forbearance has significantly enhanced my abilities to heighten whole-body mindfulness and time devoted to life events other than sex. This arrangement constitutes the self-presentation that has worked for me for 14 years.

It must be obvious to readers that the skills detailed in this essay require deliberation as well as problem-solving. Many women are likely to view these characteristics as undesirable if they suppress spontaneity and, simply, fun. These issues require adjustment to individual personalities, temperaments, styles, and other factors, but I don’t consider these challenges oppositional to a sexually abstinent lifestyle. To the contrary, challenges can be motivating and intellectually, as well as, experientially, stimulating. It is neat, for example, to redefine one’s expressions of sexuality via individual styles, in, for example, clothing, home design, food, and other civilized alternatives.
Sexual abstinence as a lifestyle will not appeal to everyone. However, the option might be viewed as a new set of possibilities, enhancing a woman’s capacities for intimacy in a variety of forms. In essence, “Sex and the City” folkways and decisions may have their place as precursors to sexual activities, but, so might emotional restraint, reflection, and periods of information-gathering benefit our long-term expressions of pleasure.

Suggested Readings
Giroud F, Lévy B-H (1993) Women and men: a philosophical conversation. Boston: Little, Brown & Company (English translation, 1995, by ©Richard Miller)
Koch PB, Weis DL (eds.) (2000) Sexuality in America: understanding our sexual values and behaviour. New York: Continuum
Rothblum ED (1994) Transforming lesbian sexuality. Psychology of Women Quarterly 18, 627-641
Sobo EJ, Bell S (eds.) (2001) Celibacy, culture, and society: the anthropology of sexual abstinence. Madison, WI: University of Wisconsin Press

Originally published in WNC Woman.

Young black poets...Self-directed Writing (Essay by Clara B. Jones)


Young Black Poets And A New Sub-genre: Self-Directed Writing

[Harryette] Mullen's work...provides a telling reply to those who would argue that lyric innovation should be, or just is, an inappropriate genre for examining the political, the social, or the cultural.” Juliana Spahr (2002)

by Clara B. Jones

Until I read the Jamaican poet, Ishion Hutchinson's, poem, “The Coffin Maker” (“the alabaster hour of day”), it never occurred to me that black poets were acknowledged and rewarded for work that did not concern race as a central theme. I've begun to pay close attention to styles, themes, and aesthetics in contemporary poetry, especially, when reading black American writers. My own standards tend to reside in a Formalist domain, privileging Helen Vendler's criteria: pitch, innate rhythm, interpretive power, distinctive timbre (lyric)--though my, often experimental, poetry does not always follow these rules. I realize that the esteemed poetry critic considers race, class, and gender to be secondary to “temperament,” a standard subordinating language to form. This effect is problematic since most of the poetry written by members of marginalized and underrepresented groups, fundamentally, emphasizes L-A-N-G-U-A-G-E. In addition, the latter writers are characteristically concerned with what Vendler would term, “politics” or “sociology.” as well as, personal narrative and relationships, modes of literary expression that do not always have “good staying power,” in Vendler's words. After many pangs of guilt for regarding Vendler's principles with high esteem, I have formed the opinion that the boundaries between LA-N-G-U-A-G-E and F-O-R-M are more fluid than often presented in textbooks or critical pieces written by members of the poetry mainstream and that this observation is supported by considering several contemporary, mostly, young and emerging, black poets now writing in this country.

Young black poets and their practice

Many of the poets in the category I am tentatively defining are males, some of whom have received recognition—awards, winners of contests, competitive academic positions, and the like. In addition to Hutchinson, Gregory Pardlo, Terrance Hayes, Jamaal May, Geffrey Davis, Ross Gay, Dante Micheaux, and Reginal Dwayne Betts come first to mind. Phillip B. Williams is a young poet who has taken control of his craft, engaged in self-directed creative activity, rather than work produced within Formalism's strictures or by adopting a separatist political posture by directly addressing race and institutional racism. Williams, instead, decides when and when not to employ race as a personal, social, or political construct or marker—as a filter through which to interpret and express interior experience relative to its personal meaning, a local condition, politics, or other phenomena and events. In “Canticle to the Tune of a Waistband's Slap,” he says: “Imagine empty suits gin-/fanned to a river bottom, hollow button-up shirts/Tuskegee's into silence,/in the shape of a Khoisan woman/renamed for a planet and propped up for exhibition.” Williams' reference to a South African “Khoisan woman” should be interpreted as an indirect reference to race, gender, and identity, since most of his readers will not know of the tribe or of steatopygia, characteristic of female Bushmen. It is, also, of interest that the physical trait (protruding buttocks) is considered a sign of beauty in Khoisan society and that these women's facial features are recognized for their comeliness around the world. The poet, then, employs a poetic conceit by cleverly embedding race and other markers into this piece in a manner that does not allow or demand easy categorization or stereotype and that does not overwhelm lyric or art. In this and other poems, however, and, without self-consciousness, grandiosity, or an obsessive sense of obligation (thus, not without authenticity and agency), the theme, race, is woven with other signifiers in a manner permitting a creative space, the poem, to encompass several individual markers, including, personal (woman), impersonal (river bottom), social (Khoisan), and, by implication, political (South Africa).

The young, female African-American poet, Morgan Parker is much more direct when referring to race but manages to “slant” (Emily Dickinson) her phrases and associations in ways that do not corrupt the aesthetic features that have made her one of the most visible black females in the mainstream poetry community. Many of her poems assert gender, sex, and class themes as well as concerns with race, demonstrating identity's heterogeneity and complexity. For example, in her poem, “Magical Negro #217: Diana Ross Finishing A Rib In Alabama, 1990s,” Parker writes, “All my friends are sisters and husbands, I'm afraid/to be uncharted I want an empire in my teeth....” In this piece, as in the work of other young poets that I highlight, race can remain a backstory (in this case, via the poem's title) upon which readers are positioned, making a slanted approach that is, arguably, a more significant message of the poem than if race were front and center (glaringly “in your face”). Morgan Parker fuses race-talk with fiesty, clever, technically competent, irreverent, sometimes hilarious, writing in which her intelligence and personality project themselves into the reader's awareness, as if to say to Formalists, “Move over, I'm in charge here!” In this article, I am discussing poets who, like Williams and Parker, take ownership of their unique voices and variegated material by treating race as one component of their identities comprised of many traits and markers, refusing to “play to” the limits and limitations of classical standards. These poets' Egos and skills are strong enough to voice a craft and to stand on their own relative to an industry, particularly, publishing, that has typically excluded them or kept them on the margins.

Self-directed creative work is embodied in what the young, African-American, female poet, CM Burroughs, calls, The Vital System (2012, Tupelo Press), a book that has been embraced not only by poets of race but, also, by the mainstream poetry community. Like Williams and Parker, Burroughs has crafted a self-directed creative project in which race is one of many interconnected components of a complex tapestry of self. Like many visual and performance artists (e.g., Pope.L who, in addition to performance art, also produces “text art”), Burroughs makes clear that she refuses to filter her her writing through race alone, identifying with “post-blackness,” a contemporary critical perspective rejecting notions that the person of color must speak to, speak for, or bear the burden of race (“Like so: post- slides into your/dailiness...call it Counter-Culture. Post-/Black. Fancy it.”) Following an aesthetic tradition situated in the poetics of Harryette Mullen and Jorie Graham, Burroughs offers an “associative” poetry of fractured identity, slaying the haunting dragons of death, sex, race, and gender with a post-modern sensibility in which the narrator's voice is fluid and short lines and white spaces denote heterogeneity without straightforward or binary answers suggested by white vs. black or male vs. female. Like a mark of Graham's work, Burroughs presents a “revision” of what we mean by race, sex, and gender, employing a model supported by several, rather than one (race) or a few (race, class, gender) supporting themes.

Throughout her volume, Burroughs returns to death and her seemingly ambivalent relationship to sex and to black men, highlighting her obsession with personal history, and the reader will note her implied reference to Shakespeare's use of “die” and “death” to represent “orgasm” in some poems (“a woman who allows a woman to die”; “we did not see its beak/gag, did not see it die.”; “Dying happens just as your waking happens”) The Vital System translates Burroughs' life into textual form, represented, not only, via her language (“So much has happened. I'm black. I have a dead sister. I love you, but, and believe this,/I mostly want to talk.”). Several poems are written in prose, and, like Graham's long sentences, carry thoughts and feelings and situations from the present over the long term, perhaps to an imagined eternity or place where separation and loss do not occur. Both Graham and Burroughs combine elements of the poetics of form and of language, bridging the concerns of both traditions into literature that is taken seriously by highly-regarded poets, critics, scholars, educators, publishers, and other professionals, practitioners, and stakeholders, resulting in wide acclaim for each poet's work.

Conclusion: Fusing aesthetics and politics

It is interesting to note, and would be important to study, Morgan Parker's recent call for black poets to develop their own aesthetics based upon a radical resistance that she traces to Nikki Giovanni and the [“angry”] Black Arts Movement of the 1960s. Parker's White Paper, published as a Harriet blogpost, was devised in opposition to current calls to increase racial diversity among poets, and she suggests that black poets should withdraw from that initiative. Elsewhere, I have termed this nascent school, Black Nationalist Poetry, and it remains to be seen whether a significant proportion of black poets will forgo efforts to become validated by the mainstream poetry community in this country. A conventionally race-based poetry, particularly, black nationalist perspectives, might oppose the self-directed creative processes represented by the young black poets mentioned in this article. However, there are several reasons to argue that a self-directed practice is a more powerful way to bring issues of identity, including, race, to national and international domains. First, black nationalist aesthetics characterize movements of the past, outcomes of Modernist ideals of meta-narratives and utopian thinking based on allegories (i.e., oppression generated by institutional racism rather than discursive “performance” of race; reliance upon binary thinking—black vs. white, male vs. female). On the other hand, many of these writers' paradigms, also, exhibit Post-modern aspects since they situate race in a social and political arena. Second, a more heterogeneous, complex view of race and race-based poetics benefits the poet and her audience by promoting an independent writer in control over her product that, it can be argued, is less vulnerable to commodification by counter-interests in poetry's mainstream. Finally, heterogeneity and complexity permit more flexible and differentiated responses to racism over the short-, medium-, and long-terms, components of tactics and strategies to assert leverage, if not immediate influence, in professional networks often biased in favor of a limited set of phenotypes (putatively, male, white, and economically privileged).

I have argued, elsewhere, that “oppositional” poets, educators of poets, and progressive critics should develop a systematic analysis of Formalism out of which might emerge a new, progressive aesthetics linked by language to politics, in particular, racial politics. The present article is intended to propose a tentative conceptual framework by revising and expanding the latter project for one based upon the idea that form and language are both important to the aesthetics and politics of marginalized poets who benefit themselves, their art, and their, direct or indirect, messages by adopting literary standards and techniques reaching the widest possible audience. It is only by these means that the elitist strictures of Formalism and classical criteria can be effectively impacted and modified by black and other underrepresented poets. Like Burroughs' “vital system,” many young black poets, as autonomous agents, are connecting the interior and the personal with the social and political via language as a new writing model. The latter paradigm might be crafted in a hierarchical or non-hierarchical manner depending on the values and purposes of the poet whose art is now generated by self-directed aesthetics and politics rather than by the externally imposed, exclusive, elitist, and divisive standards, priorities, and expectations of conventional and mainstream poetry networks.

Originally published in online poetry journal, Yellow Chair Review.

Why are writers of color underrepresented... (Essay by Clara B. Jones)


Why Are Writers Of Color Underrepresented Among Published Authors?

On 7 November 2015, The Atlantic published an article by Kavita Das titled, “Writers shouldn't romanticize rejection: in the literary world, talent isn't hiding. It's being ignored.” The article advanced two major premises: that a minority “voice” may be “alien or unrecognizable” and that rejection is a function of “power” relations. In Das' words, “Is my voice going to be somehow alien or unrecognizable to the person I am submitting it to?” Though the author recognizes that her essay might apply to all writers from underrepresented groups, she directs her concerns primarily to “writers of color.” While I agree that racial and ethnic diversity should be a priority in the literary world, I submit this essay to suggest that numerous factors may operate to limit opportunities for underrepresented writers and that Das has overlooked some possible solutions. While I practice poetry seriously, I am neither a professional nor an academic poet. Thus, I cannot claim to have systematically studied the topic under consideration. I hope, however, to broaden and to enhance the conversation about under-representation of some groups among those identifying as writers, particularly, writers competing for publication.

Are persons of color underrepresented? Following Das' comments, we need more quantitative data about whether or the extent to which under-representation of certain groups characterizes published writers. The single study cited by Das compares representation of published groups of color with their representation in the American population at large. Perhaps we should consider using the representation of persons of color in M.F.A. programs or another baseline rather than total population. It might be useful for stakeholders to enlist the aid of statisticians in conducting quantitative studies.

To what extent do limited finances impede the careers of writers of color? Some minority writers, particularly, blacks and Hispanics, may lack the financial resources required for a successful career as a published author. Many potential choices may increase a writer's networks and chances of being published (e.g., money to hire a good agent or editor, to consider high-quality self-publishing, to attend conferences or retreats). A wealthy [white] friend of mine recently self-published a beautiful volume that cost him ~$20,000, including, ~$8,000 for a seasoned editor. Many minorities would find this option beyond their reach. One viable solution to this problem that seems to be increasingly common is the formation of publishing collectives, and at least a few of the existing ones privilege writers from marginalized groups, in particular, LGBTQ and persons of color. Another possibility would be for some publishers to designate quotas or a minimum number of titles specifically for writers of color; however, in my experience, there is vigorous resistance to this option, and it might be argued that such initiatives are contrary to aesthetic standards and purposes. Another obvious possibility would be for institutions, including, publishers, to fund grants or fellowships to promising early-career writers of color, perhaps, after a writer of color has published articles in journals or magazines.

Are writers of color prepared to deploy competitive tactics and strategies? Related to this, are writers of color, particularly, blacks and Hispanics, more competition-averse than their peers? These questions might be addressed by tutoring or by classes sponsored by organizations and educational programs. These are, also, issues that might be addressed by individuals via coaching (another option requiring funds) or self-help resources (e.g., books, tapes, videos).

Are the verbal skills of writers of color adequate for the production of publishable work? Writers of color who speak non-standard English or whose primary language is a foreign one, need to recognize that these features will be considered a “lack” by agents, editors, and publishers and will probably make such individuals less competitive compared to writers with impeccable English skills.


Do writers of color write with a Universal (Human Nature) “voice” as well as a Specific (individual Race or Ethnicity) “voice”? If it is accurate, as Das suggests, that the “voice” of a writer of color might be viewed as “alien” and, thus, less competitive when compared to writers from a dominant group (e.g., white males, famous authors, contest winners), does the writer of color address not only her individual traits, but, also, a “voice” based upon Human Nature? A critique of the Universal standard in publishing can be found in the Introduction to The racial imaginary: writers on race in the life of the mind (2015, Fence Books) edited by Claudia Rankine, Beth Loffreda, and Max King Cap. Despite the perspectives expressed in the recommended Introduction, writers of color may want to address both the specific and the general in their work—implicitly and/or explicitly, in order to reach the broadest audience and to improve marketability of manuscripts. On the other hand, it is worth noting that a number of recently-published books by writers of color (e.g., Rankine, Ta-Nehisi Coates) address parochial themes, particularly, race and racism in the United States.

Have writers of color articulated the standards and criteria that guide or govern their practices? In my opinion, writers of color need to articulate an aesthetic which might be normative, oppositional, or some combination of these. For better or worse, classical aesthetics probably govern the selection process at most publishing houses. If the work of a writer of color does not fulfill Formalist (form over language) expectations, then s/he might consider submitting to alternate, small, or specialized presses or starting a new press designated for underrepresented authors. The latter solution to resistance by mainstream publishing houses has a long and, often successful, tradition in this country (e.g., see the history of the New York School or of Language poets).

Emphasizing the pervasive influence of classical criteria, it is important for writers of color to realize that these standards have historically excluded most writers other than white males. The dominant motivation in literature is for agents, editors, and publishers to identify work that, in Paul Fry's words, are “true for all time”, an ideal of Romanticism. Helen Vendler, the pre-eminent poetry critic in the United States, is a Formalist who considers gender, race, and class to be secondary to “temperament” from which, in her view, “major” work arises. Vendler considers most poetry written by feminists to be “politics” and/or “sociology”, and she, in all likelihood, would say the same about writers of color having stated that race is only one of many factors in a person's identity.

Conclusion: Unless I am mistaken, underrepresented writers have not marshaled a counter-response to Formalism, a project that would require a conversation among writers of color to formulate a new aesthetics. Personally, I favor such a project; however, I recognize that many writers of color would oppose it. In any event, underrepresented authors need to realize that they write with, in Adrienne Rich's words, “the oppressor's language” and in the oppressor's environment. On the other hand, the late Caribbean-British Sociologist, Stuart Hall, has argued that influence and change can arise from “the margins”, suggesting that a progressive response to the lack of “diversity in the publishing sector” might be to generate innovative and oppositional strategies outside mainstream publishing. Such initiatives might, over time, attract a wide range of authors, including, published writers of color as well as a representative sample of the writing community. Finally, underrepresented writers who are challenged by the publishing process should insist that successful authors of color provide support, encouragement, resources, networking, and instruction to their colleagues in the pipeline.

Originally published in The Review Review.




Contemporary "Experimental Literature"... (Essay by Clara B. Jones)


Contemporary “Experimental Literature” In America, Emphasizing Poets, Poetry, And Poetry Journals

by Clara B. Jones

As every writer knows, it is important to use words intentionally. However, the term, “experimental poetry,” is used variously in the literature and is difficult to define. Paul Stephens of Columbia University titled one of his papers, “What do we mean by 'literary' experimentalism?”, choosing to review uses of the term rather than to settle on a single definition. Stephens points out that several terms are employed interchangeably with “experimental literature,” especially, avant garde and Postmodern [rejection of the previous periods' universal truths (e.g., humanism, psychoanalysis, Marxism, Fascism)], and I have noticed in my research that the term, “innovative,” has been used to describe experimental poets who are female. As a sub-title for one of my manuscripts, I have used the words, “exploratory poems,” to describe innovative pieces, a figurative substitute for the word, “experimental.”

Writing, primarily, about experimental poetry, Stephens states that, historically, “experimental literature” has been associated with Symbolism, Surrealism, Dadaism, Imagism as well as, other schools (e.g., Futurism, Bauhaus) and that the term, “experimental,” did not come into common usage until the 1970s and 1980s. Despite the word's diverse interpretations and uses, Stephens agrees with Ann Lauterbach that, “in the world of poetry, to be experimental is sometimes taken to mean you have...an aversion to form....” I suggest a more restrictive version of the previous statement—that literary experimentation exhibits an aversion to the aesthetics dominating mainstream standards at a given time (the “canon”), especially, standards of form, language, and function.

Gertrude Stein as an exemplar of “experimental literature”

Speaking of Gertrude Stein and other experimental authors, Stephens asserts, “Writers like Stein...seek to confront us with massive blocks of information [e.g., “epic” poems] that...thwart what we traditionally expect from poetry as a formal expression of carefully crafted sound and meaning.” Using “conceptual” writing as an example, Stephens goes on to suggest that this form of experimental literature, in particular, poetry, “is not necessarily a careless literature,” contrary to some critics who have claimed that many experimental works are produced “arbitrarily.” Natalia Cecire considers Stein's epic poems “unreadable” and “boring,” suggesting that “it is not scale but rather something about her style that is an impediment to reading; not the how much, but simply the how.”, particularly, Stein's penchant for “repetition.” Yet, consistent with the idea that experimental literature opposes mainstream standards, Cecire states that Stein's poetry challenges “the status of reading” and that other experimental writers (e.g., Kenneth Goldsmith, Vanessa Place) negate “the need for reading in the traditional textual sense.”

The latter comment is reminiscent of current experiments in American poetry whereby information technology (e.g., texting, Twitter, Facebook, video, music) intersect with conventional ways to use words, and the highly-regarded, young experimental poet and internet artist, Steve Roggenbuck, promotes the terms, “internet poetry,” “vlogging formats,” “essay film,” “collage poetry,” as well as other sub-genres for utilizing technology and text (“emergent poetry” in Roggenbuck's lingo). One might suggest additional ways of describing media poetry, such as, “cyber-poetry” or “cyborg-poetics;” “neo-poetry” or “neo-poetics;” or ,“anti-poetry.” “Text art,” related to “media poetry,” though, a simpler sub-genre, is famously represented by the work of African-American artist, [William] Pope.L (University of Chicago), producing stylized printing composed as highly provocative statements, usually, innovative phrases about race, class, or gender. These novel ways of conceptualizing poetry and other text require a new aesthetics, a project in progress judging by Stephens' recent publications, including, a book and critical articles in the journal, Convolution, which he edits.

A case study of contemporary “experimental poetry”: “video erasure poetry”

I encountered Claire Peckham's media (or “internet”) poetry ( http://www.houndlit.com/claire-peckham-whispering-gallery) when reading an issue of the poetry journal, HOUND, a relatively new publication edited by Danielle Susi. The venue's webpage states, “We...tend to lean more toward experimental pieces and work that takes risks.” Based upon an e-mail interview with Claire, I learned that she is an “artist” in Seattle with a background in English (Creative Writing) and Photomedia, concentrating on “image and language.” More precisely, she said, “My work, among other things, is concerned with levels of perception and their intersections.” Claire began illustrating and binding books when she was about nine, finding that “games were not worth playing without characters; imaginary adventures were not interesting without plot.” When visiting libraries, she was, especially, interested in audiobooks. She reported, “I started saying, 'I am a poet.' as often as I said, 'I am a writer.'”

I asked Claire to relay her process for creating, “Whispering Gallery,” the “video erasure poem” published in HOUND. She responded, “'Whispering Gallery' was the culminating project for the last photography class I took at university. It was a class dedicated to exploring and re-appropriating the concept of books made explicitly as works of art. The piece is visual art and poetry [as well as sound], though I would not call it 'performance art'.” I asked Claire to be more specific about her process, in particular, what she means by a “video erasure poem.” She replied that her use of the term is “literal” and that “Whispering Gallery” was created “by erasing words from 'found' text,” specifically, entries in the Oxford English Dictionary (OED). She thinks of the poem as a combination of “poetry and visual art” [and sound] with video as the format and, I would suggest, using video as the vehicle for the experiment, though the mediation of text by technology might, also, be considered a form of facilitation or enhancement.

Claire's current project is another “video erasure poem” using text “from an ancient study on the distance at which something becomes invisible to the human eye [perception].” Claire's work is one of several sub-genres of contemporary experimental poetry, and readers interested in exploring the wide variety of these forms are referred to journals such as Posit, Inpatient Press, Otoliths, Experiential-Experimental-Literature, in addition to, HOUND and other venues (see below). In most of these journals one observes that the most common techniques and strategies utilize the manipulation of electronic technology, including, sound and music, with text, though Roggenbuck and others point out that other poetic/textual forms are “emerging.”

Experimental Literature concerns artistic function as well as form

Paul Stephens, referred to above, points out that experimental literature has political and social components. I conduct research on experimental poetry, and it seems clear to me that movements in this genre have often served as mechanisms of resistance and forms of protest against political and social ideologies and institutions, as well as, opposition to mainstream aesthetics. These tactics are often utilized by members of marginalized groups, some of whom have been political activists as well as artists (e.g., Amiri Baraka, Nikki Giovanni, Sonia Sanchez). Contemporary experimental movements have included the Harlem Renaissance, the Beats, the San Francisco School, the New York School of Poetry, the L-A-N-G-U-A-G-E movement, and the Black Arts Movement. Women have been important participants in all of these initiatives, including, for example, the “innovative” poets Harryette Mullen, Alice Notley, Gloria Evangelina Anzaloúa, Susan Howe, Leslie Scalapino, Eileen Myles, and Alice Fulton. Among these female poets, Alice Notley's and Susan Howe's work has become part of the mainstream “canon,” suggesting, perhaps, that there may be a fuzzy line between what is conventional and what is “experimental” and that, as the Caribbean-British sociologist, Stuart Hall, has suggested, activities “at the margins” can impact the dominant, majority culture and, possibly, change it. In poetry, Allen Ginsberg might be a good example of Hall's theory and an interesting subject for research.

Finally, perhaps reflecting roles played by females as well as racial and ethnic minorities in experimental poetry projects, several active journals of experimental poetry have diverse editorial boards (e.g., Door Is Ajar, Counterexample Poetics, Rhizome, Winter Tangerine Review, Really System), and this phenomenon may differ significantly from the, purportedly, mostly white, mostly male, editorial boards of journals privileging formalist and other mainstream poetic forms (but see, for example, mastheads of the highly-regarded online mainstream poetry venues, Memorious and Blackbird, as well as the print journal, Prairie Schooner). Possible differences between experimental and mainstream journals is a topic worthy of systematic investigation. The present article is intended to alert readers to the burgeoning sub-genres in contemporary experimental literature driven, primarily, by varied combinations of technology, text, visual art, and sound or music and is a call for reviewers of journals and books to focus on the creative experiments of these writers and publications, part of a new avant garde in literature.

Originally published in online poetry journal, The Review Review.