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.

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.

A collection of essays highlighting the pervasive, yet often unacknowledged, role of Romantic poetry and poetics on modern and contemporary innovative poetry 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 wellspring 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.

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.

Taking Dante Gabriel Rossetti, William Morris, and Gerard Manley Hopkins as its primary subjects, Surface Tension reveals how these later Victorian poets repeatedly imagine the aesthetic moment—charged, variegated, intensely focused—as capable of birthing a new, and newly redemptive, culture. Turning to contemporary experimental poets and theorists of poetry, such as Andrew Joron, Lisa Robertson, Christopher Nealon, and Joan Retallack, it goes on to reveal how our own poetry''s fascination with complex surfaces and imagined social transformation has deep and under-recognized ties to Victorian concepts. Surface Tension offers new insights into the debt we owe to the most radical of the Victorians while yielding new understandings of how late Victorian poetry, even when least explicitly political, engages, and often re-envisions, the period''s pressing anxieties about social progress, decadence, and revolution.

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.

Tender lyric poetry dedicated to two of the poet’s most influential late teachers.  Julie Carr’s most intimate book to date, Underscore, is dedicated to two of Carr’s foundational teachers, the dancer Nancy Stark Smith and the poet Jean Valentine, both of whom died in 2020. Elegiac and tender—at times erotic at other times bitter—these poems remain deeply invested in human relationships amid a life whose backdrop is human suffering.  Reaching toward the “ghost companions in the thicket” and to the beloveds who still “pulse with activity,” Underscore’s sonically intricate poems express a longing for dynamic forces of intra-action, a sense of expanded encounter, and what Stark Smith called “overlapping kinespheres.”