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Contemporary Women's Writing Advance Access published online on April 9, 2009
Contemporary Women's Writing, doi:10.1093/cww/vpp001
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© The Author 2009. Published by Oxford University Press. All rights reserved. For permissions, please e-mail: journals.permissions@oxfordjournals.org

"An incremental shaping": Kathleen Fraser and a Visual Poetics

Linda A. Kinnahan

Duquesne University kinnahan@duq.edu

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

The collection of poet Kathleen Fraser's books sitting on my shelf might well be hanging on the wall, a gallery grouping of verbal texts manifesting as visual objects. A number of her volumes have striking paintings or graphic designs on their covers, many are examples of small-press allegiance to beautiful papers and printing, and some have overall shapes that defy the standard book size, enhancing the eye's curiosity. Were it possible to hang the books so that they opened, the pages would reveal varied fields of whiteness and print, a rich variety of spatial inventiveness and energy marking the visual tracings of language to generate an "incremental shaping" of the poetic text.1 In exploring a visual poetics over an extensive career, Fraser contributes to the diversely rich experimental poetry communities in North America and globally.2 Fraser characterizes her own work as constituting "a project of language textures and syntactic invention"; . . . [Full Text of this Article]


   Visual Poetics: A Chronology
 

   The Visual Page and Interiority: Discrete Categories Forced into Coupling
 

   The Self and the Visual Image
 

   Ekphrasis, Ideology, and the Circulating Image
 

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