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INTRODUCTION

Forum is an ongoing discussion site focussed on one particular question per issue proposed by revolving guest editor/s who will conceive of the question and invite specific respondees as well as selecting from reader responses. Other readers are invited to reply with their written views of the announced FORUM question; those views will be considered for publication in this section and may be e-mailed to the FORUM editor. FORUM remarks will, in most cases, be excerpted if included and will be chosen with an eye for introducing new points-of-view that have not yet been expressed. This issue's co-ordinators are Kornelia Freitag & Brian Ree <[email protected]> or <[email protected]>

FORUM for Issue 7: We are hoping to organize a special forum or parallel forums addressing innovative women's writing after September 11. We will post further information about this discussion once the co-ordinators and direction of the forum has been established.

 

THIS ISSUE'S FORUM QUESTION

In the introduction to Sulfur 44 (Spring 1999) Marjorie Perloff and Jenny Penberthy advanced the thesis that the "multinationalism" of contemporary poetry may be its most significant aspect. Poets today draw freely on philosophical, theoretical, and literary writings of other languages. Old dichotomies between American and British, New and Old World, North and South American poetries have started to crumble. And yet there are complex & interrelated questions of gender, race, class, religion etc. that "multinationalism" ("global"?) visions too often overlook-especially in cases where literature serves as a vehicle for the local & the particular to resist globalization. And, after all, isn't one of the most fascinating aspects of peotry its linguistic and cultural specificity, its untranslatability? Moreover, what happens if despite the best of intentions a false "universalizing" ensues from the current predominance of English in (re)contructing non-English literature, theory, and thought. As Antonio Cornejo Polar cautions with regard to Latin American studies, the results might be "an artifact completely made out of English, precisely the language that is speaking of the 'marginal,' the 'subaltern,' and the 'postcolonial'" ("Mestizaja e hibridez: Los riesgos de las metaforas," Cuadernos de literatura 6 [1997]).

For the Forum in issue six of HOW2, we would like to propose the following questions: Is there an emergent sense of a transnational community in women's experimental verse? What does (or would) "membership" entail or require? How could/should such membership be theorized? Have the predominance of English and the popularity of Continental philosophy in the Anglophone world furthered or hindered the development of a truly international self-consciousness among women poets? Is an international journal such as HOW2 complicit in or eccentric to the Anglo-American imperium that has given us "world English"?
Kornelia Freitag

Bio: Kornelia Freitag is an assistant professor teaching American literature at Potsdam University, Germany. She has been publishing on experimental women's writing and is currently working on Wittgenstein's role in feminist thought.

Brian Reed

Bio: Brian Reed is an assistant professor of English at the University of Washington (Seattle). His most recent publications include “The Baseness of Robert Grenier's Visual Poetics” and “Hart Crane's Victrola.” An animated poem-essay, “STEIN TIMES NINE,” is forthcoming in the e-zine Cauldron & Net (Winter / Spring 2002).

Click here to read FORUM Question for H2/n7


Enter HOW2 Forum

Pam Brown

David Colón

Arpine Grenier

Adeena Karasick

Nicole Markotic

Joan Retallack

Hazel Smith

 

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