International audienceA succession of and an interaction in between several pieces, that could al... more International audienceA succession of and an interaction in between several pieces, that could also be said as designed for the stage. What Sue in Berlin puts to the fore: The paramount importance of theater or some aspects of theater within poetry—Within any poem. Harryman’s poetry is theater, at once. An exchange between voices coming from different parts. A gathering of voices. As of flowers in a bunch of flowers. An exchange between voices coming from different people
International audienceUne succession de et une interaction entre plusieurs rôles, dont on pourrai... more International audienceUne succession de et une interaction entre plusieurs rôles, dont on pourrait aussi dire qu’ils ont été créés pour la scène. Ce que Sue à Berlin met en avant : l’importance capitale du théâtre ou de certains aspects du théâtre dans la poésie – dans n’importe quel poème. La poésie de Carla Harryman est théâtre, simultanément. Un échange entre des voix provenant de différents rôles. Un rassemblement de voix. Comme des fleurs dans un bouquet. Un échange entre des voix provenant de personnes différentes
In reading together the poetry and lyrics of British-Caribbean “dub poet” Linton Kwesi Johnson (w... more In reading together the poetry and lyrics of British-Caribbean “dub poet” Linton Kwesi Johnson (who goes by the acronym LKJ)1 and the genre-defying texts and performances of interdisciplinary UK poet cris cheek,2 I propose a site of contact between two distinct creative projects. Both are based in performance and poetry, and both are grounded in opposition to the repressive Thatcher social agenda of the late 1970s through its aftermath in the 1990s. My discussion of the two artists rejects the normative perspective of the Eurocentric avant-garde and looks toward social and political conditions of rupture and fragmentation in contemporary Britain to indicate ways each artist’s work reimagines nation, community, and audience. In the work of each, the larger cultural and political context motivates the use of disruptive techniques, even as the aim or direction of their work is to engage with and appeal to popular audiences. Both cheek and Johnson reflect the interests of underrepresented audiences and encourage nonalienated public sphere participation.
La grande route Comment et par ou le dksir circule-t-il? Peut-on le mesurer? Par ses th2mes et pa... more La grande route Comment et par ou le dksir circule-t-il? Peut-on le mesurer? Par ses th2mes et par sa forme, ce texte interroge les lieux et la mouvance d u dksir. La structure m2me d u texte, avec ses deux colonnes, subvertit Ia singularitkdu dksir: plurielle, la double voix dkplace la sujette disirante d"ellel vers 'nous.' TantBt u n essai thkorique, tantBt u n journal, "La grande route" est h la fois une histoire d'amour et u n po2rne ludique. Les chemins de la jouissance passent, et vont, ailleurs.
This is an excerpt from an early draft of The Wide Road, which was published by Belladonna Press,... more This is an excerpt from an early draft of The Wide Road, which was published by Belladonna Press, New York (2011).
International audienceA succession of and an interaction in between several pieces, that could al... more International audienceA succession of and an interaction in between several pieces, that could also be said as designed for the stage. What Sue in Berlin puts to the fore: The paramount importance of theater or some aspects of theater within poetry—Within any poem. Harryman’s poetry is theater, at once. An exchange between voices coming from different parts. A gathering of voices. As of flowers in a bunch of flowers. An exchange between voices coming from different people
International audienceUne succession de et une interaction entre plusieurs rôles, dont on pourrai... more International audienceUne succession de et une interaction entre plusieurs rôles, dont on pourrait aussi dire qu’ils ont été créés pour la scène. Ce que Sue à Berlin met en avant : l’importance capitale du théâtre ou de certains aspects du théâtre dans la poésie – dans n’importe quel poème. La poésie de Carla Harryman est théâtre, simultanément. Un échange entre des voix provenant de différents rôles. Un rassemblement de voix. Comme des fleurs dans un bouquet. Un échange entre des voix provenant de personnes différentes
In reading together the poetry and lyrics of British-Caribbean “dub poet” Linton Kwesi Johnson (w... more In reading together the poetry and lyrics of British-Caribbean “dub poet” Linton Kwesi Johnson (who goes by the acronym LKJ)1 and the genre-defying texts and performances of interdisciplinary UK poet cris cheek,2 I propose a site of contact between two distinct creative projects. Both are based in performance and poetry, and both are grounded in opposition to the repressive Thatcher social agenda of the late 1970s through its aftermath in the 1990s. My discussion of the two artists rejects the normative perspective of the Eurocentric avant-garde and looks toward social and political conditions of rupture and fragmentation in contemporary Britain to indicate ways each artist’s work reimagines nation, community, and audience. In the work of each, the larger cultural and political context motivates the use of disruptive techniques, even as the aim or direction of their work is to engage with and appeal to popular audiences. Both cheek and Johnson reflect the interests of underrepresented audiences and encourage nonalienated public sphere participation.
La grande route Comment et par ou le dksir circule-t-il? Peut-on le mesurer? Par ses th2mes et pa... more La grande route Comment et par ou le dksir circule-t-il? Peut-on le mesurer? Par ses th2mes et par sa forme, ce texte interroge les lieux et la mouvance d u dksir. La structure m2me d u texte, avec ses deux colonnes, subvertit Ia singularitkdu dksir: plurielle, la double voix dkplace la sujette disirante d"ellel vers 'nous.' TantBt u n essai thkorique, tantBt u n journal, "La grande route" est h la fois une histoire d'amour et u n po2rne ludique. Les chemins de la jouissance passent, et vont, ailleurs.
This is an excerpt from an early draft of The Wide Road, which was published by Belladonna Press,... more This is an excerpt from an early draft of The Wide Road, which was published by Belladonna Press, New York (2011).
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