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Books on the topic 'Erasure poetry'
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Erasmus, Desiderius. Erasme de Rotterdam: Vieillir. Bruxelles: La Lettre volée à la Maison d'Érasme, 2001.
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Castillo, Genaro. Erase la luna hermosa como la playa. San Juan Ostuncalco, Quetzaltenango, Guatemala: Poe Talleres, 2019.
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O'Hare, Isobel. Erase the Patriarchy: An Anthology of Erasure Poetry. University of Hell Press, 2020.
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Parts: A Visual Poetry Erasure of Thomas Wolfe's the Party at Jack's. Polish & Pitch, LLC, 2024.
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Socarides, Alexandra. In Plain Sight. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855521.001.0001.
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In Plain Sight explores how the poetry of nineteenth-century American women that was once so visible within American culture could have, with the exception of that by Emily Dickinson, so thoroughly disappeared from literary history. By investigating erasure not merely as something that was done to these women but as the result of the conventions that once made the circulation of their poetry possible in the first place, this book offers the first book-length analysis of the conventions of nineteenth-century American women’s poetry. In doing so, In Plain Sight makes visible a whole field of poetry that has been long forgotten. In order to recover this field instead of its individual women poets, each of the chapters focuses on a specific convention and its participation in the construction of literary history. Taken together they tell the complicated story of nineteenth-century American women’s poetry, tracing the spaces within literary culture where it lived and thrived, the spaces from which its authors were always in the process of vanishing. By inhabiting those spaces, we can see both the conventions that were taken up with such gusto that they made the woman poet a familiar figure to nineteenth-century readers and the specter of obscurity and unreadability that are embedded within them. By reclaiming these conventions as a constitutive part of nineteenth-century American women’s poetry, this book asks readers to take seriously the work these women produced and the role their work might play in remapping American literary history.
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Kim, Christine. Global Loss. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040139.003.0005.
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This chapter looks at the poetry of Souvankham Thammavongsa to understand the figure of the Asian refugee as a metaphor for the inhuman within human rights discourses. Her first two books, Small Arguments (2003) and Found (2007), offer mediations on the mechanisms of power that threaten to render certain lives lost and forgotten. The chapter then turns to her work in big boots, a now defunct Toronto-based zine united by feminist and racialized concerns. By recording the experiences and creative outputs of this minor public in print, this zine legitimates marginalized lives and interrogates the structures that constantly threaten them with erasure. Ultimately, these texts investigate how the legitimating capabilities of print are necessary in order for a logic of exception to be exercised and human rights discourses to operate.
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Lewis, David Ralph. Our Voices in the Chaos: Erasures and Poetry. Selcouth Publishing, 2019.
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Vervaeck, Bart, ed. Neo-Avant-Gardes. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474486095.001.0001.
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This book explores the international relevance of the concept of neo-avant-garde for the study of post-war literary innovations covering North American, Latin American, Caribbean, Austrian, French, British, Belgian, Dutch and German cases. Each of the twenty-one newly commissioned chapters combines theoretical reflection with practical analysis. Together, they provide a multi-faceted account of diverse group and trends, such as the New Realists, Black Arts Movement, Labris and the Vienna Group. They also focus on a wide range of authors, like Pierre Alferi, Amiri Baraka, Konrad Bayer, Mario Bellatín, Kamau Brathwaite, and Anna Kavan. In addition, they pay attention to specific techniques, including erasure, lyricisation, and montage, and to specific genres such as comic books, experimental fiction, and visual poetry. As a result, the book not only specifies the frame of the neo-avant-garde, but also shows its pertinence and its relation to the historical avant-garde, modernism, and postmodernism.
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Mir, Salam Darwazah. Transnational Literature of Resistance. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765111765.
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Fills a gap in comparative studies, interrogating strategies of Empire in dominating the Indigenous and linking two modern cultures from the Global South. Transnational Literature of Resistance compares and contrasts resistance literatures from Guyana – a British exploitation colony – and Palestine – a settler colony – at a specific historical moment. Salam Darwazah Mir contests the provinciality and Eurocentric focus of comparative literature; delivers the discipline’s universal objectives; and expands the discipline’s practice by comparing two literatures and histories from the Global South. Mir situates the literatures within their wider historical and literary heritage, a move that links the two countries from within the colonial/imperial framework. She argues that the British invasion of the protectorate of British Guiana in 1953 and the founding of the settler colony in Palestine in 1948, with imperial Britain at the helm, are colonial acts to strengthen and sustain Empire. The two colonial projects are evidence of the protean nature of Empire that evolves, reinvents itself, and reconstructs new comparable ploys and strategies of controlling the Global South. Within this context, the emergence of poetry of resistance in both countries at this historical juncture is part and parcel of other forms of resistance during decolonization, linking the formerly colonized and the presently colonized people in the Global South. It is examined from within the framework of postcolonial theory, as Mir reads poetry as the voice of the people in their demands for freedom, equality, and national independence. Resistance poetry is thus born out of the need to assert identity, redress invisibility and erasure, reclaim national space and land, and reconstruct the history of the Indigenous.
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Brozgal, Lia. Absent the Archive. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622386.001.0001.
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Cultural Traces of a Massacre in Paris: The October 17, 1961 Anarchive is the first cultural history devoted to literary and visual representations of the police massacre of peaceful Algerian protesters. Covered up by the state and hidden from history, the events of October 17 have nonetheless never been fully erased. Indeed, as early as 1962, stories about the massacre began to find their way their way into novels, poetry, songs, film, visual art, and performance. This book is about these stories, the way they have been told, and their function as both documentary and aesthetic objects. Identified here for the first time as a corpus—an anarchive—the works in question produce knowledge about October 17 by narrativizing and contextualizing the massacre, registering its existence, its scale, and its erasure, while also providing access to the subjective experiences of violence and trauma. Cultural Traces of a Massacre is invested in exploring how literature and culture may “do history” differently by complicating it, whether by functioning as first responders and persistent witnesses; reverberating against reality but also speculating on what might have been; activating networks of signs and meaning; or by showing us things that otherwise cannot be seen. This book provokes important questions about the aesthetic, ethical, and political stakes of representation.
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Jones, Chris. ‘Barbarous Hymn’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.003.0002.
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This chapter begins by contrasting the current popularity of Beowulf with its relative obscurity at the start of the nineteenth century. It suggests that the most well-known ‘Anglo-Saxon’ poem during the nineteenth century was ‘Ulrica’s hymn’ from Walter Scott’s novel Ivanhoe. The chapter details how this poem was both shaped by, and shaped, nineteenth-century antiquarian writing on Anglo-Saxon poetry, drawing on many works held in Scott’s library at Abbotsford. Scott’s ‘Saxon’ poem is seen as a product of Romantic Primitivism, and an idealized staging, or performance of early English literature. Ulrica’s ‘Hymn’ stands both as an origin for contemporary English literary culture, and also as a problem that the novel must erase. As such it provides an apt introductory emblem for nineteenth-century Anglo-Saxon poetry.
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Canuel, Mark. The Fate of Progress in British Romanticism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192895301.001.0001.
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What did Romantic writers mean when they wrote about “progress” and “perfection”? This book shows how Romantic writers inventively responded to familiar ideas about political progress which they inherited from the eighteenth century. Whereas earlier writers such as Voltaire and John Millar likened improvements in political institutions to the progress of the sciences or refinement of manners, the novelists, poets, and political theorists examined in this book reimagined politically progressive political associations in multiple genres. While embracing a commitment to optimistic improvement—increasing freedom, equality, and protection from injury—they also cultivated increasingly visible and volatile energies of religious and political dissent. Earlier narratives of progress tended not only to edit and fictionalize history but also to agglomerate different modes of knowledge and practice in their quest to describe and prescribe uniform cultural improvement. But Romantic writers seize on internal division and take it less as an occasion for anxiety, exclusion, or erasure, and more as an impetus to rethink the groundwork of progress itself. Political entities, from Percy Shelley’s plans for political reform to Charlotte Smith’s motley associations of strangers in The Banished Man, are progressive because they advance some version of collective utility or common good. But they simultaneously stake a claim to progress only insofar as they paradoxically solicit contending vantage points on the criteria for the very public benefit which they passionately pursue. The “majestic edifices” of Wordsworth’s imagined university in The Prelude embrace members who are “republican or pious,” not to mention the recalcitrant “enthusiast” who is the poet himself.
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Nyong'o, Tavia. Afro-Fabulations. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479856275.001.0001.
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In Afro-Fabulations: The Queer Drama of Black Life, the cultural critic and historian Tavia Nyong’o surveys the conditions of contemporary black artistic production in the wake of post-blackness. Moving fluidly between the insurgent art of the 1960s and the intersectional activism of the present day, Afro-Fabulations challenges genealogies of blackness that ignore its creative capacity to exceed conditions of traumatic loss, social death, and archival erasure. Tracking how the bodies that were speculated in as commodities became speculative bodies, he develops an account of black fabulation that is always already feminist and queer. In so doing, he revises accounts of post-humanism and new materialism that ignore the subversive potential of life lived outside the sovereign coordinates of the human. If black survival in an anti-black world often feels like a race against time, Afro-Fabulations looks to the modes of memory and imagination through which a black polytemporality is invented and sustained. “Angular sociality” names the gate and rhythm of black social life as it moves in and out of step with itself, providing its internal dynamism and drama. To outline his theory of afro-fabulation, Nyong’o takes up a broad range of sites of analysis, from speculative fiction to performance art, from artificial intelligence to blaxploitation cinema. Reading the archive of violence and trauma against the grain, Afro-Fabulations summons the poetic powers of world-making that have always been immanent to the fight and play of black life.