By Jennifer van Alstyne
Matthew Pincus, a 2nd year MFA candidate at Naropa University’s Jack Kerouac School, presented on “Stein’s Exoskeletal Language: Embodied Desire in Disembodied Sociality,” which focused in Gertrude Stein’s Three Lives, and more specifically the section on Melanctha. In “The Rejection of Closure,” Lyn Hejinian writes, “The desire that is stirred by language is located most interestingly in the language itself – as a desire to say, a desire to create the subject by saying.” Pincus argues that in Three Lives, “social realist relationships and urban spaces are disembodied desires of the text whereas language are embodied elements of desire,” the social realist relationships being Melanctha Herbert/Joseph Campbell and Lena Mainz/Herman Kreder, and the two, “subtle, possibly sexual relationships” are Anna Federner/Mrs. Lehntman. By examining Stein’s language, Pincus is able to present us with hidden desires in the text and semantic connection with particular use of Marjorie Perloff’s The Poetics of Indeterminancy: Rimbaud to Cage (Princeton University Press 1981, Northwestern University Press 1991). “Melanctha Herbert is a recording of atoms falling upon consciousness,” Pincus says, “veering away from conventional, Dickensian social realism to ulterior modes of arrangement and components of narrative.” Pincus is a regular book reviewer for Pank, Raintaxi, Bookslut, and Necessary Fiction, and has essays forthcoming in Coldfront Magazine and Manor House Quarterly.
Connor Fisher has an MA in Literature from the University of Denver and is currently a 3rd year MFA candidate at Colorado University-Boulder. His paper, “Text, Absent Image, and the Impossibility of Co-Being: Holocaust Museum and its Affect,” focused on Robert Fitterman’s book, Holocaust Museum (Counterpath, 2013) which is a listing of hundreds of captions taken from Holocaust Museum photographs presented as a text-only translation of medium. What does the text mean without the image? Fisher argued that because of the gap between text and image, readers experience “a muted, flat affect” and a gap of signification which “parallels the lack of phenomenological similarity between a contemporary, English-reading public and the Jews, Gypsies, and others who experienced the events captioned in the book.” Interlocution in Levinas’s work, for Fisher, is seen as a way to experience the “Other’s” consciousness, or those who were victimized by the Holocaust as exemplified in Fitterman’s text. The Holocaust Museum though only provides a narrative and visuals, which distance the viewer from grief and suffering by making them empathize rather phenomenologically forcing one to experientially investigate. Fitterman’s latest book, No, Wait. Yep. Definitely Still Hate Myself is available from Ugly Duckling Presse (2014). Fisher is a regular book reviewer and has poetry published on Squawk Back.
Unfortunately, third panelist Julie Joosten, whose paper entitled “On Modulation and Meaning: Tracie Morris’s Sound Poetry,” was unable to attend the conference. I was disappointed not to hear about Tracie Morris, 2014 Summer Writing Program faculty, but we hope to see Joosten at the next [Dis]embodied Poetics Conference in 2016.
Jennifer van Alstyne has been published in the Eunoia Review, Crack the Spine, Midwest Literary Magazine, The Monmouth Review, The Foundling Review, Paper Nautilus, Poetry Quarterly, and Whiskey Traveler. Her collection, Scansioned Music: A Glenn Gould Collection, was published in Crossroads 2013 for which she was the winner of the Jane Freed Grant. She is currently Associate Editor for Something On Paper and Book Reviews Editor for Bombay Gin.