- Published in print:
- 2005
- Published Online:
- June 2013
- ISBN:
- 9780853238195
- eISBN:
- 9781846313806
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853238195.003.0011
- Subject:
- Literature, Poetry
This chapter discusses the poetics of embodied utterance and transformation in the works of Maggie O'Sullivan in the 1980s and 1990s. The exuberance of the work of O'Sullivan is attempting to ...
More
This chapter discusses the poetics of embodied utterance and transformation in the works of Maggie O'Sullivan in the 1980s and 1990s. The exuberance of the work of O'Sullivan is attempting to discover the further productive unity between nature and culture in order to replicate the productive exertion of the natural forces she celebrates. Poetry in performance can be argued to be the production of a productivity because it is always of machinic combinations of various poetic language elements and performance events. The texts of O'Sullivan meticulously utilized space as a score for performance and as a primary field for the play of devices. O'Sullivan's work is a sample of ‘the new nonlinear poetries’ that have widened the range of free verse, which she argued as primarily a visual than rhythmical ordering.Less
This chapter discusses the poetics of embodied utterance and transformation in the works of Maggie O'Sullivan in the 1980s and 1990s. The exuberance of the work of O'Sullivan is attempting to discover the further productive unity between nature and culture in order to replicate the productive exertion of the natural forces she celebrates. Poetry in performance can be argued to be the production of a productivity because it is always of machinic combinations of various poetic language elements and performance events. The texts of O'Sullivan meticulously utilized space as a score for performance and as a primary field for the play of devices. O'Sullivan's work is a sample of ‘the new nonlinear poetries’ that have widened the range of free verse, which she argued as primarily a visual than rhythmical ordering.
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/9781846319778.003.0007
- Subject:
- Literature, Women's Literature
This chapter examines the experimental poetry of Maggie O’Sullivan, including From the Handbook of That & Furriery (1986), States of Emergency (1987), and In the House of the Shaman (1993). It ...
More
This chapter examines the experimental poetry of Maggie O’Sullivan, including From the Handbook of That & Furriery (1986), States of Emergency (1987), and In the House of the Shaman (1993). It suggests that O’Sullivan’s work typically does not address gender (as it is usually understood in cultural and literary criticism) and challenges readers with its reconception of poetry as a textual body. It also considers absence/presence or deconstruction/incarnation as an identifiable dynamic in O’Sullivan’s poetry and explores how O’Sullivan locates her work in a relation between the non and the multi. Finally, it discusses O’Sullivan’s use of neologisms, contractions, or parts of words as a means of resisting ‘a restrictive culture where the dominance of notions of poetry are centred around the referential’.Less
This chapter examines the experimental poetry of Maggie O’Sullivan, including From the Handbook of That & Furriery (1986), States of Emergency (1987), and In the House of the Shaman (1993). It suggests that O’Sullivan’s work typically does not address gender (as it is usually understood in cultural and literary criticism) and challenges readers with its reconception of poetry as a textual body. It also considers absence/presence or deconstruction/incarnation as an identifiable dynamic in O’Sullivan’s poetry and explores how O’Sullivan locates her work in a relation between the non and the multi. Finally, it discusses O’Sullivan’s use of neologisms, contractions, or parts of words as a means of resisting ‘a restrictive culture where the dominance of notions of poetry are centred around the referential’.
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.
