By C. Cucinella
Poetics of the physique examines representations of the physique within the paintings of 4 vital twentieth-century poets: Edna St. Vincent Millay, Elizabeth Bishop, Marilyn Chin, and Marilyn Hacker. Drawing on either previous and current discussions in regards to the position of the physique when it comes to Western philosophy, gender, sexuality, hope, inventive construction, and narrative, this learn finds how the poetic our bodies within the poetry of those girls negotiate the intersecting ideologies that try and control the physique, its features, and its behaviors. eventually, this dynamic publication considers what it skill to own a physique.
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Additional resources for Poetics of the Body: Edna St. Vincent Millay, Elizabeth Bishop, Marilyn Chin, and Marilyn Hacker
Sample text
However, as feminist scholarship has revealed, the cultural production of women often suffers marginalization because this production seems too embodied. Thus works that seem too womanly also seem to adhere too closely to the (female) body, which mires them in sentiment, sensibility, or silliness. Specifically referencing Millay, Sandra Gilbert identifies one of the difficulties facing early twentieth-century women poets as the “inescapable link between female anatomy and literary destiny, between the perceived body of the ‘feminine’ poet and the body of her work” (299).
In fact, Millay “would act her poems with her whole body” (Kennedy 97). Clark provides the following details regarding Millay’s public persona: “She would appear in a long gown for readings, her voice dramatic, her form girlish and attractive, more like a diva than like the gray-suited male poet” (5). 6 Unlike Madonna, however, Millay failed to repackage the public image as she aged. Epstein presents a harsh description of the poet at age forty-seven: “The image she saw in the mirror was disturbing.
Like Bishop, Hacker often writes as an expatriate living in Paris, yet the ideological contexts that shape Hacker’s poetry are very different from those that influenced Bishop’s. Hacker’s poems, published in the 1990s, directly address issues regarding the body, cancer, and AIDS, and they reflect the prevailing ideologies that have at times marginalized those diseases. Hacker does not limit her concerns to illness; rather, she writes an expansive poetry that challenges the ideologies that propel bigotry, that exposes the atrocities of the Holocaust, that lays bare the consequences of repressing desire, and that consistently presents the body as the crucial element in the tellings.