Hartwick College’s unique January Term (J-Term; my first!) is again starting off unconventionally, but I’m excited to be teaching an intensive month-long course on feminist poetry and poetics. The syllabus: ENGL 247 Four Modern American Poets: Adrienne Rich, Audre Lorde, Bernadette Mayer, and Rachel Blau DuPlessis.
My essay, “‘Is an Archive Enough?’: Megatextual Debris in the Work of Rachel Blau DuPlessis,” has been published in Genre: Forms of Discourse and Culture 54, no. 1 (April 2021): 139–65. This issue is the first of two special issues on “Big, Ambitious Novels by Twenty-First-Century Women,” edited by Courtney Jacobs and James Zeigler. The second issue will be released in July 2021. I also have an interview with DuPlessis forthcoming in boundary 2. I’ve included an abstract of my essay below, along with a table of contents.
I am particularly proud of this essay, as I wrote it predominantly during the summer of 2020–the height of lockdown–and during which we had no childcare and I couldn’t access the library nor my campus office, including its books. Lots of people to thank, consequently, but particularly Racheal Fest, Courtney Jacobs and James Zeigler for their hard work putting this together during an incredibly difficult year, Rachel Blau DuPlessis, and Dawn Baker, Hartwick’s interlibrary loan librarian. (There are more acknowledgments on the first page of my essay.) This essay is also the second published chapter from my work in progress, Too Big to Read: The Megatext in the Twenty-First-Century. For other related work on megatexts and hyperarchivalism, see:
In the twenty-first century, digital technologies have made it possible for writers and artists to create massively unreadable works through computational and collaborative composition, what the author has elsewhere called megatexts. The ubiquity of texts appearing across media that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis’s work, including Drafts (1987–2013) and Traces, with Days (2017–), readily suggests itself as a case study for thinking through a megatextual impulse in the twenty-first-century long poem. Though her work is plainly indebted to its modernist precursors (H.D., Pound, Williams, etc.) while disavowing at every level of its composition a patriarchal will toward totality, DuPlessis’s various experiments in the long poem are also thoroughly contemporary and respond to the economic, military, political, and environmental transformations of the neoliberal era by drawing upon and producing fragmentary, megatextual debris. This essay positions DuPlessis’s work amidst a larger twenty-first-century media ecology, which includes both the megatext and the big, ambitious novel, and argues that rather than simply (and futilely) resist the neoliberal cultural logic of accumulation without end, DuPlessis hypertrophically uses the megatext’s phallogocentric form against itself in order to interrogate more broadly what it means—socially, culturally, economically—to write a long poem in the age of hyperarchival accumulation.
“Big, Ambitious Novels by Twenty-First-Century Women, Part 1,” Genre 54, no. 1 (April 2021).
If you attended the virtual 2021 Modern Language Association Conference but were unable to come to the roundtable I organized, Twenty-First-Century Forms, you can watch a recording of it here (I believe for about six weeks). The speakers were (in order): myself, Amy Sara Carroll, Racheal Fest, Christian P. Haines, Hyemin Kim, and Eric Loy. For more information, see my previous post.
“Dead Horse Bay” and “Archives of Winter,” poems from my current ongoing project, Postrock, have been reprinted in Poetics for the More-than-Human World: An Anthology of Poetry and Commentary, edited by Mary Newell, Bernard Quetchenbach, and Sarah Nolan and published by Spuyten Duyvil.
The anthology was originally published online as a special issue of Dispatches from the Poetry Wars: “Poetics for the More-than-Human World: An Anthology of Poetry and Commentary.” Other contributors include Rae Armantrout, Rachel Blau DuPlessis, Jane Hirshfield, Cynthia Hogue, Angela Hume, Michael McClure, John Shoptaw, Stephanie Strickland, Harriet Tarlo, Edwin Torres, and many, many others.
For this year’s Modern Language Association Convention, to be held virtually from January 7–10, 2021, I organized and will be speaking on a roundtable on Twenty-First-Century Forms, along with Amy Sara Carroll, Racheal Fest, Christian P. Haines, Hyemin Kim, and Eric Loy. I have included the information about the panel and, below that, full abstracts from each speaker.
181. Twenty-First-Century Forms
Thursday, January 7, 2020, 7:00 – 8:15 p.m. (EST)
If the novel and lyric poem have become residual forms, what literary forms are emerging in contemporaneity? Participants explore emergent literary forms of the twenty-first century and their relationship with, instantiation in, or remediation by other (digital) media: film, television, video, graphic narrative, video games, transmedia, or other hybrid, novel, or megatextual forms.
Amy Sara Carroll (U of California, San Diego)
Bradley Fest (Hartwick C)
Racheal Fest (State U of New York, Oneonta)
Christian Haines (Penn State U, University Park)
Hyemin Kim (Baruch C, City U of New York)
Eric Loy (U of Rochester)
Bradley Fest (Hartwick C)
Black Lives Matter
Gina Cherelus, “How We Juneteenth.”
Mariame Kaba, “Yes, We Mean Literally Abolish the Police.”
R. H. Lossin, “In Defense of Destroying Property.”
b2o Review, “COVID-19 Dossier.”
Hortense J. Spillers, “Apocalypse Now and Then.”
Charles Bernstein, “Herd Immunity.”
Nathan L. Grant, “Horseman No. 5.”
The A-Line Editorial Staff, “Convergence 5: Apocalypse Now and Then.”
Adrian Parr, “Pandemic Urbanism.”
Hamilton Nolan, “There Is No Plan (For You).”
To accompany the online publication of “Poetics for the More-than-Human World: An Anthology of Poetry and Commentary” at Dispatches for the Poetry Wars, along with its eventual print publication by Spuyten Duyvil, the editors have organized a series of ten readings over the next few months. The first reading kicks off next week, June 25, 2020 at 4:00 p.m. EDT with Rachel Blau DuPlessis, Patricio Ferrari, Peter O’Leary, Stephanie Strickland, Harriet Tarlo, Orchid Tierney, and Edwin Torres.
On July 16, 2020 at 4:00 pm EDT I’ll be reading with Cara Chamberlain, Petra Kuppers, Jake Levine, Eléna Rivera, Arthur Sze, and Jen Web.
I am totally humbled by the inclusion of my poems, “Dead Horse Bay” and “Archives of Winter,” in a special issue of Dispatches from the Poetry Wars: “Poetics for the More-than-Human World: An Anthology of Poetry and Commentary,” edited by Mary Newell, Bernard Quetchenbach, and Sarah Nolan. Other contributors include Rae Armantrout, Rachel Blau DuPlessis, Jane Hirshfield, Cynthia Hogue, Angela Hume, Michael McClure, John Shoptaw, Stephanie Strickland, Harriet Tarlo, Edwin Torres, and many, many others.
The issue also includes a section of commentary, reviews, and criticism, including a review of Kristin George Bagdanov’s Fossils in the Making (2019), and essays by Lynn Keller, Hogue, Cole Swensen, and (again) many others.
Here is the press release from Dispatches:
Announcement: Release of Online Anthology
POETICS FOR THE MORE-THAN-HUMAN WORLD!
We are delighted to announce the special Ecopoetry issue of Dispatches from the Poetry Wars journal, titled “Poetics for the More-than-Human World: An Anthology of Poetry and Commentary,” co-edited by Mary Newell, Sarah Nolan, and Bernard Quetchenbach. The issue offers a core sample of diverse approaches to ecologically oriented poetics, representing 150 contemporary authors from a wide range of bioregions and nations. In addition to poetry, the issue features critical commentary, interviews, a preview selection of Cognitive Ecopoetics,by Sharon Lattig, and reviews of current anthologies.
In this time of planetary challenge from changes to climate and water level, atmospheric pollution, viral scourges, and threats of mass species extinction, our interconnectedness across boundaries of nationality, ethnicity, and other sociocultural labels has been underscored by our common plight. How can we bear witness to this situation, how might we harness our fear, anger, hope, wonder, in ways that will encourage a renewed commitment to live sustainably in our shared home? May this anthology offer fresh impressions of the life of this chaotic but still resplendent planet we share. May you find pleasures, surprises, insights, and inspiration, and may some of the poems resound in you and provide sustenance and energy on your own path toward living conscientiously. Visit dispatchespoetrywars.com.
UPDATE MAY 26, 2020
At this year’s American Literature Association Conference in Boston, Massachusetts (May 23–26, 2019), I will be speaking on a panel discussing US Women Writers and Economic Forms, C19–C21. I have included the information on the panel and a tentative abstract for the paper I will be presenting below.
For previous essays and papers of mine on what I am calling megatexts, see:
Session 20-C : US Women Writers and Economic Forms, C19-C21 (St. George C)
1. “Protestant Work Epic: Labor, Loafing, and Form in Alcott’s Little Women Trilogy,” Schuyler J. Chapman, Glenville State College
2. “Megatextual Debris: Rachel Blau DuPlessis’s Drafts before and after 2008,” Bradley J. Fest, Hartwick College
3. “H.D. and the Entrepreneurial Imagination,” Racheal Fest, SUNY Oneonta
US Women Writers and Economic Forms, C19-C21
After the 2008 financial crisis, literary critics have turned increased attention to US economic ideologies and their complicated relationships to cultural production. This panel explores how US women writing across the tradition have responded to the changing economic conditions, discourses, and values that defined their moments. Panelists argue poets and prose writers Louisa May Alcott, Rachel Blau DuPlessis, and H.D. invent novel forms that at once challenge dominant discourses of free enterprise and disclose their patriarchal valences.
“Protestant Work Epic: Labor, Loafing, and Form in Alcott’s Little Women Trilogy”
Schuyler J. Chapman, Glenville State College
Roughly halfway into Louisa May Alcott’s Little Women, a longtime servant sends a letter to the March-family matriarch, explaining that she and the family’s four daughters have “got on very economical.” The moment underscores the narrative’s persistent attention to the financial texture of the mid-19th century. Although scholars have approached this novel and its two sequels as illustrative of period-specific perspectives on child-rearing, romance, education, and more, few have attended to the novels’ economic theories. In this series, I argue, Alcott crafts a set of consciously epic novels, reflective of both Frye’s and Lukács’s conceptualizations of the genres, as the ideal form through which she can interrogate the sources of and solutions to economic tribulations resulting from early industrial capitalism. Surveying her contemporaries, Alcott urges a return to what Weber would later identify as the Protestant Ethic, rejecting outright the malingering ethos put forth by Hawthorne, Melville, Thoreau, and Whitman. Rather than oppose an economic system that her novels represent as inherently unjust by refusing labor, Alcott proposes undermining the capitalist mode of production and its concomitant social hierarchies through a surfeit of labor, an ideal that finds itself reflected in the prolix and rather uneconomical narrative form she adopts.
“Megatextual Debris: Rachel Blau DuPlessis’s Drafts before and after 2008″
Bradley J. Fest, Hartwick College
In the twenty-first century, digital technologies have made it possible for authors to create massively unreadable works, what I call megatexts, through computational and collaborative composition. The ubiquity of texts that are quite literally too big to read appearing across media—from experimental novels and electronic literature, to television, film, and videogames—signals, as I argue elsewhere, that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis’s Drafts (6 vols.; 1987–2013) readily suggests itself as a case study for thinking through the lyric’s transformations in the era of big data and financialization. A long poem that conspicuously draws upon its modernist precursors (Pound, Zukofsky, Olson, et cetera) while disavowing at every level of its composition a patriarchal will toward totality, Drafts responds to the economic and political transformations between the end of the cold war and the 2008 financial collapse by producing a kind of fragmentary, megatextual debris. In this paper I will argue that DuPlessis, rather than simply (and futilely) resist the neoliberal logic of megatextuality, hypertrophically uses the form’s phallogocentrism against itself in order to more broadly interrogate what it means—socially, aesthetically, economically—to write a long poem in the age of hyperarchival accumulation.
“H.D. and the Entrepreneurial Imagination”
Racheal Fest, SUNY Oneonta
Although literary critics interested in neoliberal discourses usually focus on literary and economic texts composed after 1980, many neoliberal intellectuals writing in the US published their most influential theoretical works much earlier, beginning in the 1920s and 1930s. We might therefore productively reread US modernist writers with their neoliberal contemporaries in mind. When we do, I argue, familiar critical narratives about modernist understandings of the nature and function of human creativity shift. Critics often read modernist conceptions of imagination as romantic, transcendental, and incompatible with privileged materialist views of the human. Set against the entrepreneurial conceptions of culture that economists promoted in the early twentieth century, however, modernist writers seem to offer newly visible resources for oppositional projects interested in materialist representations of creativity. To give a sense of how, this paper puts the erotic view of creativity the poet and novelist H.D. develops in the fragmentary text, Notes on Thought and Vision, in conversation with the view of culture her contemporary, the Nobel-prize-winning economist Friedrich Hayek, theorized around the same time. While Hayek subsumes creativity to transcendental market logics he believes culture at its best supports, H.D. conceives imagination as an historical and embodied faculty able to influence others through the sensuous materiality of sound and image. I explore the history of these different visions and evaluate their stakes for our moment.