This post is really a means of clarification.
I teach my students, among other things, experimental poetry writing (i.e. I encourage them to experiment, as well as to explore the ideas and procedures of various formations from the 19th century onwards that are variously labelled experimental, avant-garde, post-a/g, innovative, which includes but is not limited to the kinds of writings which are included in the g&l anthology that Michael Farrell and myself published a few years ago, which also includes what could be labelled, though I'm uncomfortable with the term, 'mainstream' writing).
I write in ways these days which I myself or various others would name or construct as, at various times, one of all-of-the-above, and more and quite often less (dare I confess I write the odd lyric), as the case may be. It could be constructed as queer (but not always overtly), it could be constructed as feminist (not always overtly), or it could simply be constructed under one or the other of the above rubrics, as the case may be, and depending on where the constructor stands - or even as 'mainstream', at times, depending, etc.
But, I grow tired of rubrics. I can see how those last two paragraphs take a while to say not much.
I have, from time-to-time, been marginalised on the basis of my writing and/or my sexuality. I have been told this by friends, declared or apparent enemies, and bystanders over the years, so I'm not simply being paranoid, or precious. It is what it is, and probably not an uncommon experience for poets in some shape or form - or for academics, for that matter. I mostly don't worry at it, but occasionally …
Although I may have (clearly have) enemies, I'm no one's enemy - I don't think like that, plus it's a waste of energy. But these days I'm grown very circumspect - and, thus, raising this issue was possibly not, in retrospect, a good idea. I'd best now leave it at that.
The only other thing, therefore, I should clear up is to note that Kathleen Fallon taught in Melbourne. I greatly admire (love) her work but she does not teach with me, never has, and so far as I know is not currently teaching (I could be wrong), having been a victim of the big re-org at Melb Uni a few years ago. One of the editors of this anthology does teach currently in the same discipline as myself in Adelaide and another of them used to teach in Adelaide, before my time. Thus, I am acquainted with all the editors of the anthology and I know Anna - she, in fact, very kindly launched Michael's and my anthology in Sydney a few years ago. In other words, the formations I move amongst are not other than those of the editors or the anthology.
So, that's enough from me.
J
On 03/05/2013, at 5:33 PM, Chris Jones wrote:
> On 03/05/13 17:01, Chris Jones wrote:
>> Anna's introduction does say that this collection is limited
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> I should perhaps say that Anna Gibbs is a very important and leading theorist and thinker here in Australia for women's experimental writing and also for experimental queer writing. Unfortunately she may be one of the few left standing and at associate professor level here at UWS.
>
> For those outside of the aust scene this may help fill in what goes on. Kathleen Mary Fallon, another important writer, I believe teaches at Uni of Adelaide, along with Jill. A lot of this stuff happens in universities, here, but this is unique to Aust. Jill and I are in different camps wrt experimenatal writing, but we don't hate each other... rather the differences are worth celebrating... is that as clear as mud?
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> BLOG http://abdevpoetics.blogspot.com.au/
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