With Some Notes on Categories and Methods
This book is about experimental poetry written by women in Britain between 1970 and 2010. It places women’s experimental poetry — a critically neglected, significant body of contemporary writing — within the wider social and political contexts of the period and considers where it has come from and where it might be headed. Focusing on the works of women poets ranging from Veronica Forrest-Thomson and Wendy Mulford to Geraldine Monk, Denise Riley, Maggie O’Sullivan, Harriet Tarlo, Elizabeth Bletsoe, Helen Macdonald, Caroline Bergvall, Anna Mendelssohn, Emily Critchley, Sophie Robinson, Marianne Morris, Andrea Brady, and Jennifer Cooke, the book examines what it means, what it has meant, and what it might mean in the future to be a woman writing. It also considers the political shift from feeling to affect, based on Jacques Lacan’s rejection of the opposition between affect and idea, in the context of women’s experimental poetry in Britain and its relation to body, time and locale.
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