Poetry and Poetics

Lisa Ruddick

Lisa RuddickI teach courses in modern British fiction, literature and psychoanalysis, and poetry and poetics. The question driving my teaching right now is: what conduces to the feeling of aliveness? Why do good poems and novels seem to draw us close to something we'd call being, and is there a way to talk about this phenomenon in non-fuzzy, theoretical terms? What do poets variously say about the sense of readiness that precedes creation, and how does the adherence to form help to enable this readiness? 

Jennifer Scappettone

Jennifer ScappettoneMy research and teaching interests span the nineteenth through twenty-first centuries, with particular emphasis on comparative global modernism; the history and presence of the avant-garde; poetry and poetics; the evolution of cities, geographies of modernity, and current transmogrifications of place and space; literatures of travel, migration, and displacement; barbarism, polylingualism, and other futures of language in global contexts; translation; Italian culture and its echo in others; the study of gender and sexuality; relations between literary and other arts; and art history, visual culture, and aesthetics. I’m interested in the way that Anglo-American and European languages and aesthetics register changes in the coordinates of space, time, and attention.

Joshua Scodel

Joshua Scodel

My major field of research is sixteenth- and seventeenth-century English literary history in relation to intellectual, cultural, and political history. Special interests include early modern English literature's engagements with classical and Renaissance continental literature and philosophy; Renaissance genre theory and practice; and literary criticism's relation to literary practice, ancient to early modern.

 

David Carroll Simon

David Simon

I teach and write about the literary and intellectual history of sixteenth- and seventeenth-century England, often in connection with continental (especially French) cultural phenomena. I am writing a book about the intimacy of literature and science in this period, which explores the shared interest of natural philosophers and poets in the epistemological and ethical consequences of carelessness and other forms of casual indifference. By describing experiences of minimal feeling that are neither repressive nor illusory, neither achievements of self-discipline nor self-serving fabrications, the protagonists of my project disclose an unfamiliar conception of scientific dispassion. For Boyle, Marvell, Milton, and others, “nonchalance” intensifies receptivity and draws out the world’s hidden properties.

 

Richard Strier (emeritus, teaching 2015-16)

Richard StrierMy passion is to bring together two modes of literary study that have, traditionally but needlessly, been seen as antagonistic: formalism and historicism. I am deeply interested in the intellectual history of the early modern period, especially theological and political ideas. I am interested in the ideas themselves but even more in the ways in which they find their way into English and American literature in the period. My book on George Herbert attempts to demonstrate how deeply the central ideas of Reformation theology are at work in the intricate tonal and structural details of the lyrics.

John Wilkinson

John WilkinsonI am a poet and scholar of poetics who joined the English department in 2010. Currently I serve as Chair of Creative Writing and of the Divisional Committee on Poetics.
 
My first collection of poetry, Useful Reforms, was published in 1976. My recent publications include Down to Earth (Salt, 2008), Reckitt’s Blue (Seagull Books 2013) and Ghost Nets (Omnidawn 2016). A selected poems, Schedule of Unrest, was published by Salt in 2014. My work is referenced in the standard guides and histories of recent British poetry and of Modernist poetry, and has been the subject of several published papers.
 
My critical publications include a collection of essays, The Lyric Touch (Salt 2007), which includes essays on poetics; on ‘Cambridge School’ poetry including J.H. Prynne, Denise Riley, and John James; and on American poetry, notably John Wieners. Subsequently I have published papers on George Oppen; the New York poets Frank O’Hara and James Schuyler and three papers on Barbara Guest; and a substantial paper on lyric titled “Repeatable Evanescence”.  I have also published on the British poet Barry MacSweeney, and additional papers on Prynne.
 
My present critical, scholarly and research work falls into three distinct but related areas. I am interested in supporting research work in these areas, in New York School poetry, and in recent poetic practice and theory. Beyond the three areas indicated below, I am also publishing papers on Andrea Brady, the persistence of the elegiac genre, and a further paper on John Wieners.
 
1.         British poetry and painting in the mid-century.  I have a paper forthcoming on Dylan Thomas, but the chief focus of my attention is W.S. Graham. In particular I am interested in Graham’s relations with the St Ives painters Peter Lanyon, Roger Hilton and Bryan Wynter, and the debates on abstraction and landscape which inform both the poetic and visual work. I am also interested in the bearing of these debates on concurrent debates in the US, particular as they bear on the painting of Willem de Kooning and the poetry of Barbara Guest.
 
2.         US-UK poetics relations in the 1960s and 1970s. I am working on a paper on Charles Olson and J.H. Prynne, drawing on their extensive correspondence, which will challenge the one-way model of influence from US to UK in this period. There is considerable scope for further study, notably in relations between Ted Berrigan and John James, and the intensive connections between British Marxist Feminist poets such as Denise Riley and Wendy Mulford and American poets including Alice Notley.
 
3.         Outsider Writing. I am a Principal Investigator, along with Matt ffytche who chairs Psychoanalytical Studies at the University of Essex, for an ambitious project on Outsider Writing launching in 2016,  with its initial three years supported by the University of Chicago Neubauer Family Collegium for Culture and Society. The project will focus on post-1945 writing by people with major mental illness (but within a longer historical perspective), taking account of the antecedents of mental illness in experiences of racism, immigration and other forces of social oppression and dislocation. It will develop an archive of primary and critical materials and aims ultimately to establish a research center. The first three years will consider Outsider theory as it is now developing, connections with Outsider (visual) Art, the politics of outsider status in the art and literary markets, and define the scope of the project more broadly. It will also seek to involve practitioners as well as scholars.
 
Among other activities, I am chairing the planning group for a centennial conference on the great black Chicago poet Gwendolyn Brooks in April 2017. I am also editing with Keston Sutherland of Sussex University a special issue of Textual Practice on the aesthetic turn in criticism, with an emphasis on the implications for pedagogy. My own contribution will consider the art writing of Adrian Stokes, which connects with research area 1 above.
 
My background is unusual in that until 2005 my career was in mental health services in the UK, as a nurse, a social worker, a housing development worker, a strategic planner and a public health professional.  Although in management theory much lip service is paid to career flexibility, it is my experience that students considering an academic career don’t believe such talk, and with some reason. I’m happy to talk about the possibility and problems of sustaining an intellectual and creative life outside the academy and a creative life within it.

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