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Contemporary Women's Writing 2007 1(1-2):151-170; doi:10.1093/cww/vpm007
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© The Author 2007. Published by Oxford University Press. All rights reserved. For permissions, please e-mail: journals.permissions@oxfordjournals.org

The Formation of a Feminist Counterpublic in the Poetics of Lola Lemire Tostevin and Daphne Marlatt

Stephen Morton

University of Southampton, UK S.C.Morton@soton.ac.uk

The first 150 words of the full text of this article appear below.

In Ogress Oblige (2002), the Vancouver-based writer Dorothy Lusk articulates the incapacity of avant-garde poetics to account for what she calls "Mummy's archaic corporeality" (Lusk 32):

An ahistorical avant-garde verges on apoplexy at the approach of an active mother—RRRRRR—. One's "condition of being" as recipient of another's motive, rendering one mute or mum (Lusk 32).

In this passage, the speaker attempts to demystify the aesthetic ideology of the "ahistorical avant-garde" by comparing its exclusionary response to the "approach" of "an active mother" to a form of "apoplexy" (32). In doing so, the speaker refuses to be either silenced (rendered "mute") or defined by her maternal body (rendered "mum"). The dilemma that Lusk articulates in this quoted passage points to a broader problem facing contemporary avant-garde women writers: How to address a public that will engage with women's writing as the articulation of a historically situated and embodied knowledge rather than . . . [Full Text of this Article]


   Translation and/as Articulation: The Poetics of Lola Lemire Tostevin
 

   Rearticulating the Reproductive Maternal Body in Daphne Marlatt's Poetics
 

   Breathing a Different Bodily Life-line: Corporeal and Conceptual Contexts for Marlatt's Poetics
 

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