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Drafts 1–38, Toll
In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material.
Drafts
This book brings Drafts, the long poem by Rachel Blau DuPlessis, to its mid-point. A polyphonic work, both monumental and provisional, Drafts asks how to represent our sense of direness and ethical crises, the awe, asonishment, skepticism and pleasure: that all this is. This installment of nineteen Drafts is dedicated to its own poetic and political communities, offering these dedications as pledges to transformation out of social rage and out of grief-inflected hope. The book also contains a witty “summary” of all fifty-seven Drafts to date. This book makes clear the ways DuPlessis’ long poem is a midrashic response to the long poems of modernism and the tolls of modernity. She is a poet of polysemy, of negativity, of critique. Of Drafts, Walter Kaladjian remarked, “DuPlessis’ avant-garde procedures are imbricated in an ethicopolitical mode of poetic testimony.” Nathaniel Mackey said that Drafts “affirm and negate the toll history takes on letter and spirit, affirming and negating and navigating a way between.”
Purple Passages
What is patriarchal poetry? How can it be both attractive and tempting and yet be so hegemonic that it is invisible? How does it combine various mixes of masculinity, femininity, effeminacy, and eroticism? At once passionate and dispassionate, Rachel Blau DuPlessis meticulously outlines key moments of choice and debate about masculinity among writers as disparate as Ezra Pound, T. S. Eliot, Louis Zukofsky, Charles Olson, Robert Creeley, and Allen Ginsberg, choices that construct consequential models for institutions of poetic practice. As DuPlessis writes, “There are no genderless subjects in any relationship structuring literary culture: not in production, dissemination, or reception; not...
The Pitch
To Do List: 1. Win the biggest business pitch in my company’s history 2. Pretend I’m not crushing on my gorgeous mentor big time 3. Whatever happens, do NOT kiss him My girlfriends think I’m married to my business. They’ll do whatever it takes, from speed dating to blind dates, to prove to me that there’s more to life than my career. But who cares if I haven’t been on a date in four years? All my hard work is about to pay off when my marketing agency lands the biggest account in its history—we’ve just got to win it first. My father has arranged for the mysterious Paul Neilsen to mentor me through the pitching process. He’s a media mogul who likes to keep a low profile, but he’s nothing like I expected. He’s attractive, in an I’m-finding-it-hard-to-concentrate-on-my-work sort of way. He also understands me, and I’m confiding in him more than is strictly professional. But getting involved with Paul could ruin the biggest opportunity in my company’s history, although try telling that to my heart. It obviously didn’t read the company memo. As for what happens next . . . Well, that definitely wasn’t in my business plan . . .
Genders, Races, and Religious Cultures in Modern American Poetry, 1908-1934
In Genders, Races and Religious Cultures in Modern American Poetries, Rachel Blau Duplessis shows how, through poetic language, modernist writers represented the debates and ideologies concerning New Woman, New Negro and New Jew in the early twentieth century. From the poetic text emerge such social issues of modernity as debates on suffrage, sexuality, manhood, and African-American and Jewish subjectivities. By a reading method she calls 'social philology' - a form of close reading inflected with the approaches of cultural studies - Duplessis engages with the work of such canonical poets as Wallace Stevens, Ezra Pound, T. S. Eliot, William Carlos Williams, Gertrude Stein, Marianne Moore and H. D., as well as Mina Loy, Countee Cullen, Alfred Kreymborg and Langston Hughes, writers, she claims, still marginalized by existing constructions of modernism. This book is an ambitious attempt to remap our understanding of modern poetries and poetics, and the relationship between early twentieth-century writing and society.
Signets
Signets brings together the best essays of H.D. (Hilda Doolittle). Susan Stanford Friedman and Rachel Blau DuPlessis have gathered the most influential and generative studies of H. D.'s work and complemented them with photobiographical, chronological, and bibliographical portraits unique to this volume. The essays in Signets span H. D.'s career from the origins of Imagism to late modernism, from the early poems of Sea Garden to the novel HER and the epic poems Trilogy and Helen in Egypt. In addition to the editors, the contributors are Diana Collecott, Robert Duncan, Albert Gelpi, Eileen Gregory, Susan Gubar, Barbara Guest, Elizabeth A. Hirsch, Deborah Kelly Kloepfer, Cassandar Laity, Adalaide Morris, Alicia Ostriker, Cyrena N. Pondrom, Perdita Schaffner, and Louis H. Silverstein. Signets is an essential resource for those interested in H. D., modernism, and feminist criticism and writing.
The Feminist Memoir Project
The women of The Feminist Memoir Project give voice to the spirit, the drive, and the claims of the Women's Liberation Movement they helped shape, beginning in the late 1960s. These thirty-two writers were among the thousands to jump-start feminism in the late twentieth century. Here, in pieces that are passionate, personal, critical, and witty, they describe what it felt like to make history, to live through and contribute to the massive social movement that transformed the nation. What made these particular women rebel? And what experiences, ideas, feelings, and beliefs shaped their activism? How did they maintain the will and energy to keep such a struggle going for so long, and continuing still? Memoirs and responses by Kate Millett, Vivian Gornick, Michele Wallace, Alix Kates Shulman, Joan Nestle, Jo Freeman, Yvonne Rainer, Barbara Smith, Ellen Willis, Eve Ensler, Shirley Geok-lin Lim, Roxanne Dunbar, Naomi Weisstein, Alice Wolfson and many more embody the excitement that fueled the movement and the conflicts that threatened it from within. Their stories trace the ways the world has changed.
