But Zoe if that's the case then it has to be commented on - why does this
unease about desire and the 'I' afflict women poets? I mean all that chick
lit dripping off the shelves (not that I've read any but I suppose it fairly
racy stuff - yes?) - all those rampant women on shows like Big Brother etc
I mean young women today aren't intimidated or shy about being up front and
in your face about sex and desire - nor older ones if we include Edwina
Curry! .
G.
----- Original Message -----
From: "Zoe Brigley" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, September 29, 2006 4:26 PM
Subject: Re: Oxford Conference
Thank you to those on the list who were concerned about DIRT DISHER WORLD
EXCLUSIVE. Luckily I have a good sense of humour. Thanks for what you said
Desmond too.
I think that this discussion about women poets and the 'desiring I' has lost
the point where it began. I interpreted the 'desiring I' as simply referring
to an active lyric voice rather than use of the monologue or a passive lyric
voice. I don't think that it suggests that there are a lack of women
writers, or literary expression of sexual/erotic passion, or a 'reality' to
be dropped onto the work of unsuspecting poets. It is simply another way of
looking at activity or passivity in the lyric poem.
Although I love Mina Loy's poetry, I think that only some of her work shows
this idea of 'desiring I'. For example, consider the passive speaker in
'Three Moments in Paris':
Beautiful half-hour of being a mere woman
The animal woman
Understanding nothing of man
But mastery and the security of imparted physical heat
Indifferent to cerebral gymnastics
etc.
This passivity is not a bad thing particularly. The point that Bertram was
making is that some woman may find it difficult in some cases to write a
'desiring I'.
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