Women Poets on the Left: Lola Ridge,Genevieve Taggard,Margaret Walker. Nancy Berke. Gainesville: UP of Florida, 2001.

Nancy Berke offers a cogent and convincing argument to include radical women poets within the canonical texts of modernist poetry. Unlike the broad overview texts commonly used in academic settings, Berke's Women Poets on the Left places Lola Ridge, Genevieve Taggard, and Margaret Walker within the context of the political and social histories that shaped their lives and consciousness. This work complicates poetic analyses, challenges white male dominance in the field, and provides a critical feminist take on poetry produced by women on the left during the twenties and thirties. Moreover, Berke's inclusion of Margaret Walker, whose work falls between two critical periods, the 1940s and 1960s, contextualizes how the poetry of activist women provides multivalent perspectives and demonstrates a continuum of radical modernist poetry in the United States.     

Poland,poetry, and gender

Although women figure prominently in contemporary Polish poetry, literary criticism has not treated them as a collective phenomenon. This is due to the great diversity of poetic voices, to the lack of a strong feminist tradition in Poland, but also to the unwillingness of some women poets to be labelled as authors of “women's poetry.” The term has for a long time been burdened with dismissive and pejorative meanings. Recent attempts to define women's poetry by a number of Polish and British critics have proved unsuccessful, since the characteristics of women's poetry — the interest in everyday detail as opposed to generalization, the intermingling of the private and the political — can be applied to much postwar Polish poetry, irrespective of gender.     

Poetic boundary conditions: Australian poets in the ivory tower

This article explores the experience of women poets in academe and posits that by institutionalising themselves in universities, women poets gain financial stability by working in the wider field of poetry. However, they also face discrimination and a lack of opportunity in these workplaces. The article uses two case studies of poets Maria Takolander and Jill Jones, who work at Deakin University and the University of Adelaide, Australia, respectively. These case studies show the way in which these poets explore the experience of academe in their poetry.     

Ego identity status and expressive writing among high school and college students

Several studies were conducted to assess the relationship between expressive writing (poetry writing and journal keeping) and ego identity development among high school and college students. In three independent comparisons, poetry writers were more likely than students not writing poetry to have previously resolved identity crises (i.e., to be in the identity achiever status). There were also indications that students who had never written poetry were more likely to be in the foreclosure and identity diffusion statuses. No differences in identity development were found between students keeping personal journals and those who had not kept journals. A comparison was made of the themes most frequently chosen as the subject for each type of expressive writing and the functions such writings were believed to be serving. Possible explanations for why poetry writing, but not journal keeping, is related to ego identity formation are discussed.Received his Ph.D. from State University of New York at Buffalo. Research interests include psychosocial development during adolescence, youth, and adulthood and techniques for resolving identity crises.Research interests include identity development in early and midadolescence and the choice of models.     

《踅言集》:一部最早实录鸦片战争进程的诗歌专集

《(踅)言集》是一部目前已知最早实录鸦片战争进程的诗歌专集,内中充满对鸦片之害的愤怒声讨、对入侵之敌的切齿增恶、对抗英志士的由衷钦敬和对误国官员的无情讥刺,可谓诗铎,可谓诗史,于今人认识那一段历史,殊有其不可忽略之助益.     

‘Older Sisters Are Very Sobering Things’: Contemporary Women Poets and the Female Affiliation Complex

If, as history indicates, the directions of poetry are determined by its inheritance – that is, its perception of its past – in looking at literary records such as poems, reviews and other critical texts, it is possible to anticipate how twentieth-century women's poetry will come to be defined and the extent to which it will have value and authority. This in its turn will formulate the nature and status of women's poetry in the twenty-first century. In surveying twentieth-century poetry in Britain, the signs are that just as the label ‘poetess’ was a handicap to the self-perception of a woman at the beginning of this century, so the label ‘woman poet’ will shackle her in the next, largely because her end-of-the-twentieth-century predecessors will have become mythologized as a literary underclass, undermined and overlooked. One reason for the pattern of the last three hundred years, where women publish and then slip from literary histories, is that they do not receive proper attention from male-dominated literary criticism. Although women now seem to be sufficiently published to make segregation unnecessary, there is still a case for positive discrimination or their names will disappear from the records. Positive discrimination in the form of gendered segregation is, however, opposed by poets because of their uneasy relationship with one another. Women poets need an alternative line of development to the ‘masculinity complex’ whereby they unsuccessfully seek recognition within the male traditions, or the ‘female affiliation complex’ which prevents them from identifying themselves with one another. It will be argued that there is an emerging tendency in recent poets to plunder and appropriate the associations of the male tradition and that feminist critics need to theorize this aesthetic and make connections between poets so that they become positive role models for poets of the future.     

‘Great Expectations’: Rehabilitating the Recalcitrant War Poets

Formulating a definition of ‘good’ poetry is, and should be, impossible. Yet women's poetry of the First World War seems generally to have been condemned as ‘bad’. It inspires an ambiguous response from readers who recognize the value of its historical, social and psychological content, but shudder at the limitations of its form. However, I believe that a much more fruitful reading of these ‘recalcitrant’ texts is possible. It is not my intention to deny either their problematic nature, or the diversity and complexity of male responses to the war, but rather to emphasize that women's experience of the First World War was radically different from that of men, and we should not therefore be constrained by the traditional parameters of 1914-18 criticism when we explore these works. This article examines a selection of this poetry in the light of the psychological processes of grief and bereavement, and in so doing indicates other areas in which constructive readings of these texts might be made.Why do we expect the articulation of a radically new and uniformly consistent poetic voice from what was a large and diverse group of women? The expectations of modernism ironically have created a literary ‘mainstream’ out of a selection of experimental, and largely male, writing. I hope to show that the ‘failure’ of these women to conform to our textual ‘great expectations’ is irrelevant. The single most characteristic feature of these women's experience of war was isolation. Their position had neither the homogeneity of the trenches, nor the intense intellectualism of experimental circles. Predominantly middle class, alienated by absence and bereavement, they attempted to articulate the unprecedented nature of their experience. That their experiments were not wholly successful is perhaps indicative of the near impossibility of the task they undertook.     

Stevie Smith's Myth-Kitty

Abstract

Although Stevie Smith's poetry is in many ways very close to the laconic and less-deceived tone characteristic of Philip Larkin, there is one aspect of her work in which she differs strikingly from him and from the general features of Movement poetry: that is, in her use of what Larkin, in his 1956 ‘statement on poetry’, contemptuously called a ‘common myth-kitty’. In this chapter, I attempt to examine the treasures of Stevie's myth-kitty, not merely with the aim of distancing Smith from the Movement, but of reassessing her relationship with modernism and other poets of the generation which came to prominence in the 1930s, in particular, W. H. Auden. Smith's closest connection with modernism has often been seen to be her use of a stream-of-consciousness technique, as deployed in Novel on Yellow Paper—a technique which is inevitably compared to and dismissed as inferior to that of Virginia Woolf. Instead, I will put forward the claim that Smith's relationship to modernism should also be seen in her use of intertextuality, in the classical and other mythic fragments which, despite considerable differences of tone, place her work in the same tradition as James Joyce, Ezra Pound and T. S Eliot. I attempt to demonstrate how she draws on this ‘myth-kitty’, especially ?n her poetry, focusing on her treatment of female mythical figures, and argue that the key figure in Smith's oeuvre—the counterpart and equivalent of Eliot's Tiresias—is the figure of Persephone on her journey to the underworld.     

Capricious Intentions in Stevie Smith’s Poems and Drawings

Abstract

There is a contradiction in how Stevie Smith saw the relationship between her poems and drawings. On the one hand, she looked at her doodles as vital to her poetry and backed with a great deal of intentionality. She painstakingly cut and pasted them into her drafts and left detailed notes to her publishers when those placements were not to her exact specifications. On the other hand, though, she talked about her doodles as if they were ephemeral and backed only by caprice. This essay argues that Smith’s doodles play at the intersection of intentionality and caprice; in doing so, they become deliberately detachable objects that signify both placed with and when displaced from her poetry. Decisions, whether by Smith or by her editors, to move or remove an image have both subtle and dramatic changes for readers’ experiencing of her poems. This paper relies on archival and published sources to provide readings of several of Smith’s poems including ‘Do Take Muriel Out,’ ‘The Rehearsal,’ ‘The After-Thought,’ and ‘Not Waving but Drowning.’ In their continual ability to be removed and reattached to her poetry, Smith’s doodles destabilize the texts that they supposedly compliment, while at the same time also revitalizing them by allowing them to remain open to new interpretations.     

Vivienne:

This paper is an exploration of adolescent suicide from several perspectives: it presents a macroscopic view of teenage self-destruction in its most lethal form in our society; it critiques the biographic work Vivienne, an expanded case study of one such event; and it attempts a deeper look into Vivienne the person through her life and her poetry.     

Captivity,Confrontation, and Self‐Empowerment: identity in Forugh Farrokhzad’s poetry

In modern Iranian literature, Forugh Farrokhzad, undoubtedly, occupies a pivotal position. Her poetry presents the singular voice of an Iranian woman who dared to challenge the social and patriarchal boundaries imposed on Iranian women for centuries. Farrokhzad’s pioneering artistic career and her bold lifestyle created an unprecedented legacy for the woman artist in Iran. Her work defies all categories as she not only confronted the stereotypes forced on Iranian women’s identity, but she also challenged the long‐established tradition of the classic Persian poetry. In both arenas, Farrokhzad proved herself resilient and uncompromising. Her unique poetic voice articulates inclusion in literary and social activism and subversion from the mainstream male‐dominated literary circles. Confronting the individual and collective definitions of identity, and sexual and textual territories, Farrokhzad broke many boundaries and expressed the need for self‐awareness and affirmation of female identity. This study is an attempt, in part, to explore and investigate Farrokhzad’s rebellion against the confinement of self in the bondage of conformity and subjection and the delineation of her arduous journey to liberation and self‐empowerment.     

Anjela duval: Breton poet, peasant and militant

In 1981 Brittany lost one of its national heroes, a self-educated woman of extraordinary vision and talent, an adamant defender of her native Breton language, and a full-time farmer. Anjela Duval began writing poetry when she was in her early fifties, and within 10 years was recognized by many of her compatriots as one of the most accomplished and powerful poets of the language. A frequent theme of her poetry was the necessity for Bretons to reclaim their language and their culture from the encroachments of the French: as has literary fame spread, so did her prominence as a leader in the cultural and linguistic revival in Britanny during the 1960s and '70s. Her modest farm became a mecca for poets, writers, singers, and other artists and intellectuals committed to the promotion of the Breton language and culture: her literary and emotional impact on contemporary Bretons has been enormous.This article sketches in the main outlines of this unusual woman's life, filling them in with selected examples of her copious poems (which the author has translated from the Breton). A brief consideration of Duval from a feminist perspective is provided in the final section.     

‘I Won't Go Back to It’: Irish Women Poets and the Iconic Feminine

This paper explores the dynamic interaction between contemporary Irish women poets and the notion of tradition in Irish poetry. Looking at the work of Eavan Boland, Susan Connolly, Paula Donlon, Mary Dorcey, Paula Meehan and Nuala Ní Dhomhnaill, the paper suggests that women poets today are subverting tradition and destabilizing a conventionally accepted fusion of the feminine with the national. This is achieved through direct challenge, through dislocation and through establishing a dialogue between the mythical and the real in the context of the lived experience of women in Ireland. Finally, the paper suggests the potential for civil and social effect of the work of women who engage consciously in the process of giving women an active voice.     

Survival and song: Women poets of the Harlem Renaissance

This paper concerns Black women poets of the Harlem Renaissance. Considered by modern critics to have adopted anachronistic subject matter and to be out of step with the militant race‐consciousness of the period, these poets have been largely neglected in discussions of the 1920's, despite the fact that this was the most significant flowering of Black women's writing until the 1960's. I provide an interpretive model that reveals the rebellious messages in this verse, one that helps explain the poets’ imaginative choices by placing them in their historical context and linking them to a female poetic tradition. This approach makes clear the affirming nature of Renaissance poetry by women and makes it accessible to us today, anticipating as it does contemporary issues and forging a modern sensibility.     

The sultana and her sisters: black women in the British Isles before 1530

This interdisciplinary study examines cultural representation of black women in the British Isles before 1530. It addresses a lacuna in the historiography of black women which has, hitherto, paid little attention to the fact of their existence in the British Isles before British involvement in the slave trade. Representations of black women in stained glass and in poetry of the Middle Ages are examined and their meaning and function interrogated through an analysis of the medieval discourses which framed them and through which they were refracted: biblical exegesis, natural histories and travel literature, bestiaries, constructions of female beauty and medical treatises. These images suggest that the bodies and behaviours of black women were the site for a definition of gender and racial otherness long before the development of the slave trade of Elizabethan and Jacobean England     

Provisional pleasures: the challenge of contemporary experimental women poets

This article is an introduction to contemporary experimental poetry by women. It considers the reasons for the resistance to such work in this country. It refutes arguments made against it, for example that avant-garde writing is elitist or not related to women's experience. It further suggests why this writing, in particular in its complex engagement with issues of language, subjectivity and gender, should in fact be of great interest to the woman/feminist reader. In particular, it suggests parallels between the concerns of this work and those of feminist poststructuralism. Above all, throughout the piece, it attempts to introduce the ‘provisional pleasures’ of the contemporary avant-garde to the reader, introducing, quoting and providing multiple interpretations of the work of several diverse writers in this tradition. It aims to provide a sense of the linguistic and formal innovations of these writings, alongside a sense of their relevance to questions of female subjectivity and of women's relationship to the dominant discourses of our time.     

Dilemmas and Developments: Eavan Boland Re-examined

In ‘The Woman Poet: Her Dilemma’ (1986–7), the Irish poet Eavan Boland argued that women poets were obstructed on the one hand by traditional ideas of femininity and poetry, and on the other by the demands of separatist feminism. In ‘Dilemmas and Developments: Eavan Boland Re-examined’ Sarah Maguire argues that in recent years women poets have clearly achieved greater confidence as a result of changes in their audience. However, the underlying dilemma facing a woman poet – that of the tension between the demands of femininity and the role expected of a post-Romantic lyric poet – continues to remain unresolved.     

British Lesbian Poetics: A Brief Exploration

In a post-feminist, post-lesbian feminist, postmodern or queer world, should lesbian work remain clearly identifiable, even when it refuses to claim lesbian identity as such? Scanning anthologies from the past three decades of lesbian poetry, and focusing particularly on the work of Maureen Duffy, Marge Yeo, Dorothea Smartt, Gillian Spraggs and Carol Ann Duffy, Liz Yorke addresses issues of lesbian visibility, lesbian identification, lesbian desire, and lesbian performativity. How do we identify what constitutes a lesbian poetic in an era when ‘lesbian’ as an identity is less overtly defended, and many anthologies gloss over lesbian difference in prioritizing a higher order dedication to theme?     

The Untimely Stevie Smith

Abstract

This essay considers the role of the untimely in the work of Stevie Smith. It explores motifs of belatedness in her reception history, suggesting how her own authorial persona and public presentation encodes this response. It examines the notion of the last-minute in her work, focusing on motifs such as disruption, elongation and delay. It suggests how her revision practice responded to the idea of being ‘too late’, with the moment of publication providing her with further prompts to revise her work. It focuses on final words and endings in her poetry and frames her interest in Christianity through ideas of temporality and form.