By Linda A. Kinnahan
This e-book examines the early paintings of William Carlos Williams in courting to a women's culture of yank poetry, as represented via Mina Loy, Denise Levertov and Kathleen Fraser--three generations of ladies poets operating in or without delay from a modernist culture. Linda Kinnahan strains notions of the female and the maternal that improve as Williams seeks to create a latest poetics. Positioning Williamas in courting to those 3 generations of Anglo-American ladies, the e-book pursues questions: what can girls poets, writing with an educated expertise of Williams, educate us approximately his modernist poetics of touch, and simply as importantly, what can they educate us concerning the approach, for ladies, of creating a self inside a male-dominated culture?
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Additional resources for Poetics of the Feminine: Authority and Literary Tradition in William Carlos Williams, Mina Loy, Denise Levertov, and Kathleen Fraser
Dashes and question marks litter the poem and in thefinalline disrupt the definitive logic presupposed by the colon ending the penultimate line. Categories of meaning and syntax are dislodged just as gender categories lose their demarcation and as the poem generates itself through contradiction. 25 The male speaker's claim to "the woman in us" (us, presumably, being male writers collectively) accompanies a linguistic wrenching of binarisms - of the "two sides" and suggests a collapsing of gender polarity, an affront to stable gender identities based upon the sexed body.
That would lead only to another form of paralysis - the oceanic passivity of undifferentiation. Identity must be continually assumed and immediately called into question. (The Daughter's Seduction xii) A recognition of identity as contingent rather than essential or inherent underlies Fraser's forays into female subjectivity. At the same time the clear emphasis placed upon female identity often derives from treatments of the female body. 18 POETICS OF THE FEMININE Even in Fraser's first lyrical works, the female body is a gendered body, psychically and socially produced.
To blast the Word, to reduce it to its function of instrument is the enfranchisement of the human kind: the imminent new assertion of its next reach in power" ("I Am" 2). As his response suggests, Williams is drawn to Marsden's insistence upon the human senses as the route to knowledge, rather than her assertions of mastery over language. He isolates her thoughts on sensory forms of knowledge and reads them as expressing a "feminine psychology"; although Marsden never uses this term, Williams attributes this omission to her unawareness of the true import of her statements.