Julie Carr – författare

Approaching the practices of reading and writing from a feminist perspective, Julie Carr asks vital ethical questions about the role of poetry—and of art in general—in a violent culture. She addresses issues such as the art of listening, the body and the avant-garde, gun violence, police brutality, reading and protest, and feminist responses to war in essays that are lucid, inventive, and informed by a life lived with poetry. Essays on poets Lorine Niedecker, Jean Valentine, Anne Carson, Lyn Hejinian, and Lisa Robertson detail some of the political, emotional, and spiritual work of these forerunners. A former dancer, Carr also takes up question of text, dance, performance, and race in an essay on the work of choreographer, writer, and visual artist Ralph Lemon and poet Fred Moten.Carr’s essays push past familiar boundaries between the personal/confessional and experimental/conceptual strains in American poetry. Pressing philosophical inquiries into the nature of gender, motherhood, fear, the body, and violence up against readings of twentieth- and twenty-first-century poets, she asks us to consider the political and affective work of poetry in a range of contexts. Carr reports on her own practices, examining her concerns for research and narrative against her investment in lyric, as well as her history as a dancer and her work as curator and publisher. Carr’s breadth of inquiry moves well beyond the page, yet remains grounded in languages possibilities.

Literary history generally locates the primary movement toward poetic innovation in twentieth-century modernism, an impulse carried out against a supposedly enervated “late-Romantic” poetry of the nineteenth century. The original essays in Active Romanticism challenge this interpretation by tracing the fundamental continuities between Romanticism’s poetic and political radicalism and the experimental movements in poetry from the late-nineteenth-century to the present day.According to editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic response, direct or indirect, to pressing social issues and an attempt to redress forms of ideological repression; at its core, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the evidence of pluralism. “Poetry fetter’d, fetters the human race,” declared poet William Blake at the beginning of the nineteenth century. No other statement from the era of the French Revolution marks with such terseness the challenge for poetry to participate in the liberation of human society from forms of inequality and invisibility. No other statement insists so vividly that a poetic event pushing for social progress demands the unfettering of traditional, customary poetic form and language.Bringing together work by well-known writers and critics, ranging from scholarly studies to poets’ testimonials, Active Romanticism shows Romantic poetry not to be the sclerotic corpse against which the avant-garde reacted but rather the well-spring from which it flowed.Offering a fundamental rethinking of the history of modern poetry, Carr and Robinson have grouped together in this collection a variety of essays that confirm the existence of Romanticism as an ongoing mode of poetic production that is innovative and dynamic, a continuation of the nineteenth-century Romantic tradition, and a form that reacts and renews itself at any given moment of perceived social crisis.

The central subject in Julie Carr's debut poem collection is marriage. Intimacy is examined, not only in terms of the erotic, the quotidian, and the contractual, but also in terms of the intertextual: the pact between reader and writer and the blending of texts that results. Motherhood also figures as a kind of marriage-a bond that includes affective, legal, and sensual elements.Using a variety of poetic structures—prose poems, stanzaic forms, concrete poems, fractured lyrics, direct dialogue, and discursive modes—Carr simultaneously embraces and breaks from the expected and the known, revealing the precarious balance between our desire for narrative, sequence, drama, and resolution, on the one hand, and rupture, fragment, and fracturing, on the other.

Finalist for the 2023 Big Other Book Award Populism has become a global movement associated with nationalism and strong-man politicians, but its root causes remain elusive. Mud, Blood, and Ghosts exposes one deep root in the soil of the American Great Plains. Julie Carr traces her own family’s history through archival documents to draw connections between U.S. agrarian populism, spiritualism, and eugenics, helping readers to understand populism’s tendency toward racism and exclusion.Carr follows the story of her great-grandfather Omer Madison Kem, three-term Populist representative from Nebraska, avid spiritualist, and committed eugenicist, to explore persistent themes in U.S. history: property, personhood, exclusion, and belonging. While recent books have taken seriously the experiences of poor whites in rural America, they haven’t traced the story to its origins. Carr connects Kem’s journey with that of America’s white establishment and its fury of nativism in the 1920s. Presenting crucial narratives of Indigenous resistance, interracial alliance and betrayal, radical feminism, lifelong hauntings, land policy, debt, shame, grief, and avarice from the Gilded Age through the Progressive Era, Carr asks whether we can embrace the Populists’ profound hopes for a just economy while rejecting the barriers they set up around who was considered fully human, fully worthy of this dreamed society.

Finalist for the 2023 Big Other Book Award Populism has become a global movement associated with nationalism and strong-man politicians, but its root causes remain elusive. Mud, Blood, and Ghosts exposes one deep root in the soil of the American Great Plains. Julie Carr traces her own family’s history through archival documents to draw connections between U.S. agrarian populism, spiritualism, and eugenics, helping readers to understand populism’s tendency toward racism and exclusion.Carr follows the story of her great-grandfather Omer Madison Kem, three-term Populist representative from Nebraska, avid spiritualist, and committed eugenicist, to explore persistent themes in U.S. history: property, personhood, exclusion, and belonging. While recent books have taken seriously the experiences of poor whites in rural America, they haven’t traced the story to its origins. Carr connects Kem’s journey with that of America’s white establishment and its fury of nativism in the 1920s. Presenting crucial narratives of Indigenous resistance, interracial alliance and betrayal, radical feminism, lifelong hauntings, land policy, debt, shame, grief, and avarice from the Gilded Age through the Progressive Era, Carr asks whether we can embrace the Populists’ profound hopes for a just economy while rejecting the barriers they set up around who was considered fully human, fully worthy of this dreamed society.

A National Poetry Series winner, chosen by Eileen Myles.Set to the music of rain, these shattered elegies seek communion in the ethereal place between birth and death.“As a reader I feel included a lot in Julie Carr’s hard and beautiful book. I can pretty much hear its author speak—a whispering that enables us into its world . . . a masterfully sutured journey, painfully useful. Sarah—Of Fragments and Lines is a book I know I will return to. And urge it on my friends who have lives too and write in them.”—Eileen Myles“Julie Carr’s harrowing new book is composed of a complex music of grief and fragmentation that illuminates the fragile distance between mothers and daughters. To read Sarah—Of Fragments and Lines is to recall once again that memory might just be the singular attribute of being human and that there can be no poetics of daily life that does not confront loss. Such is the domain of love; such is the vocation of poetry.”—Peter GizziIn the wake of a mother’s battle with Alzheimer’s and a child’s impending birth, Julie Carr gathers the shards of both mourning and joy to give readers poems that encompass it all: “Zebra and xylophone cyclone and sorrow.” Here she says, “Since I lost her I stored her like ore in my / form as if later I’d find her, restore her,” giving voice to the longing that accompanies life’s most profound losses and its most anticipated arrivals.

Back in print, Carr’s powerful poems seek out and face violence and its counterforces.Julie Carr obsessively researches instances of intimate terrorism, looking everywhere from Walt Whitman and Emily Dickinson to lists of phobias and weapon-store catalogs. She searches for what can be learned from the statistics, the statements by and about rapists and killers, the websites of hate groups, and the capacity for cruelty that lies within all of us. 100 Notes on Violence is a diary, a document, and a dream log of the violence that grips America and devastates so many. But Carr also offers a layered and lyric tribute to violence’s counterforces: love, commonality, and care. Her unflinching “notes” provoke our minds and burrow into our emotions, leading us to confront our fears and our own complicity.