Queer Troublemakers

The Poetics of Flippancy

AvPrudence Bussey-Chamberlain,Daniel Katz

Häftad, Engelska, 2021

Del i serien Bloomsbury Studies in Critical Poetics

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Beskrivning

Irreverent and provoking, the figure of the ‘queer troublemaker’ is a disruptive force both poetically and politically. Tracing the genealogy of this figure in modern avant-garde American poetry, Prudence Bussey-Chamberlain develops innovative close readings of the works of Gertrude Stein, Frank O’Hara, Eileen Myles and Maggie Nelson. Exploring how these writers play with identity, gender, sexuality and genre, Bussey-Chamberlain constructs a queer poetics of flippancy that can subvert ideas of success and failure, affect and affectation, performance and performativity, poetry and being.

Produktinformation

Utgivningsdatum:2021-01-28
Mått:156 x 234 x undefined mm
Vikt:299 g
Format:Häftad
Språk:Engelska
Serie:Bloomsbury Studies in Critical Poetics
Antal sidor:208
Förlag:Bloomsbury Publishing PLC
ISBN:9781350215429

Utforska kategorier

HBTQ+ inom Samhälle och politik
Litteraturvetenskap inom Skönlitteratur

Mer om författaren

Prudence Bussey-Chamberlain is Lecturer in Creative Writing at Royal Holloway, University of London, UK. She is the author of The Feminist Fourth Wave: Affective Temporalities (2017) and three books of poetry: House of Mouse (with S. J. Folwer, 2016), Coteries (2018) and *Retroviral (2018).

Recensioner i media

A valuable and edifying contribution, in particular, to the study of two under-theorized poets – Myles and Nelson – and, indeed, the messy, queer, lateral lines of influence between them.

Innehållsförteckning

List of FiguresAcknowledgementsIntroduction 1 The Poetics of Flippancy 2 He Cannot Understand Women. I Can’: Gertrude Stein and the Camp Butch 3 ‘There’s Nothing Metaphysical About It’: Frank O’Hara’s Flippant Manifesto and the Poetry of Tight Trousers4 ‘Who Are These Idiots Writing These Poems?’: Eileen Myles’ Pornographic Tone and Mutable Categories 5 ‘Was Harry a Woman? Was I a Straight Lady?’: Tensions of Heternormativity, Assimilation and the Second PersonConclusion ReferencesIndex