David Kennedy and Christine Kennedy
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9781846319778
- eISBN:
- 9781781381106
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846319778.003.0011
- Subject:
- Literature, Women's Literature
This chapter examines the experimental poetry of Marianne Morris, Andrea Brady and Jennifer Cooke — all of whom belong to a generation of younger women poets. It begins with a discussion of Morris’s ...
More
This chapter examines the experimental poetry of Marianne Morris, Andrea Brady and Jennifer Cooke — all of whom belong to a generation of younger women poets. It begins with a discussion of Morris’s Tutu Muse: prophylactic poetry for the last generation (2007) and its movement across ‘virtually every arena of discourse’: love, economics, culturekritik, cosmetic surgery and television. In particular, it offers a reading of ‘Little Rabbit and the Argentine Doctor Get a Room’, one of the poems in Tutu Muse. The chapter then turns to Brady’s Wildfire: A Verse Essay on Obscurity and Illumination (2010) and its preoccupation with questions of identity, complicity, knowledge and narrative, along with its relentless focus on violent power-seeking. Finally, it analyses Cooke’s ‘Steel Girdered Her Musical: in several parts’ and its emphasis on the discomforts involved in the emergent articulation of desire in its true form.Less
This chapter examines the experimental poetry of Marianne Morris, Andrea Brady and Jennifer Cooke — all of whom belong to a generation of younger women poets. It begins with a discussion of Morris’s Tutu Muse: prophylactic poetry for the last generation (2007) and its movement across ‘virtually every arena of discourse’: love, economics, culturekritik, cosmetic surgery and television. In particular, it offers a reading of ‘Little Rabbit and the Argentine Doctor Get a Room’, one of the poems in Tutu Muse. The chapter then turns to Brady’s Wildfire: A Verse Essay on Obscurity and Illumination (2010) and its preoccupation with questions of identity, complicity, knowledge and narrative, along with its relentless focus on violent power-seeking. Finally, it analyses Cooke’s ‘Steel Girdered Her Musical: in several parts’ and its emphasis on the discomforts involved in the emergent articulation of desire in its true form.
David Kennedy
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9781846319778
- eISBN:
- 9781781381106
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846319778.001.0001
- Subject:
- Literature, Women's Literature
This book presents the history and current state of women’s experimental poetry in Britain — a critically neglected, significant body of contemporary writing — and places it within the wider social ...
More
This book presents the history and current state of women’s experimental poetry in Britain — a critically neglected, significant body of contemporary writing — and places it within the wider social and political contexts of the period. Ranging from Geraldine Monk’s ventriloquising of the Pendle witches to Denise Riley’s fiercely self-critical lyric poems, from the multimedia experiments of Maggie O’Sullivan to the globally aware, politicised sequences of Andrea Brady and Jennifer Cooke, this book theorises women’s alternative poetry in terms of Julia Kristeva’s idea of ‘women’s time’ and in terms of the female poetic voice constantly negotiating with dominant systems of representation.Less
This book presents the history and current state of women’s experimental poetry in Britain — a critically neglected, significant body of contemporary writing — and places it within the wider social and political contexts of the period. Ranging from Geraldine Monk’s ventriloquising of the Pendle witches to Denise Riley’s fiercely self-critical lyric poems, from the multimedia experiments of Maggie O’Sullivan to the globally aware, politicised sequences of Andrea Brady and Jennifer Cooke, this book theorises women’s alternative poetry in terms of Julia Kristeva’s idea of ‘women’s time’ and in terms of the female poetic voice constantly negotiating with dominant systems of representation.
