Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.

Poetry and the limits of language

This essay argues that poetic language offers the possibility of meaning and value, and simultaneously points beyond itself, to the limits of language, to a space differently configured as erasure, silence, the unsignifiable. What does it suggest, epistemologically and ontologically, if we acknowledge this double action of poetic language? What might this space beyond language be, and what difference does it make if we acknowledge this space? The essay examines four poems and the different ways in which they acknowledge such a space, drawing on the historically distinct approaches of Meister Eckhart and Jacques Derrida in order to ask what the space beyond language might be. The argument of the essay is that in acknowledging such a space something opens up for writers and readers of poetry: a different approach to knowing, and a potentially humbled ontological position.

Book review. Tripping over feathers: scenes in the life of Joy Janaka Wiradjuri Williams

The history of the forcible removal of Indigenous children was cast into the public arena by the publication of the Human Rights and Equal Opportunity Commission’s Bringing Them Home Report in 1997. Much has been written since then about the practices, policies and experiences of child removal in Australia. Academics, journalists, public commentators, politicians, filmmakers and those who were themselves removed from their families as children have all made contributions to public knowledge and discussion of this history, although not always in productive or well informed ways. Peter Read has been an instrumental figure in the investigation of this past, and Tripping over Feathers is his latest, and perhaps most interesting, contribution. Read’s book is a biography of Joy Janaka Wiradjuri Williams, although it is not a biography in the conventional sense. Instead, Read makes use of welfare documents, case notes, newspaper accounts, oral interviews, educational curricula, poetry, testimony and his own memories to ‘imaginatively reconstruct’ Joy’s life. He does so through the narration of what he calls a series of ‘scenes’ from Joy’s life: imaginative vignettes outlining the ‘key moments’ that are based on substantial and substantive research, albeit research that is largely invisible in conventional historical terms.