review of Meat in Tripwire

‘The poetry interrogates the ways in which language creates distance, how cultural conceptions of meat—embedded within language—distance us from the horrific realities of animal industries, and how this process of distanced consumption is inextricable from notions of patriarchal dominance, feminized objectification, and Western colonialism.

[…]

Each line of Seita’s poetry has a precision that is razor-sharp, though each carries within it multiple complexities that warrant the kind of unfolding which cannot be accomplished in a single reading. However, despite its rigorous critique, Meat is fundamentally a poetry of care. Rather than working towards totalizing judgments or conclusions, the six-part sequence offers an opening-out through the idea of love as a “mental expanse” and “imaginative caress”, as opposed to the fixity of “through-and-through givens”. It is working against the “logomachy of plausible peons” and towards “the part of speech that would make it scream”; towards a recognition within language of its own violent structures. Like the “pulse of wasps throbbing in secret nests” beneath the surface of language, Seita’s sequence has a vital force, a surge of uncontrollable life that vibrates beneath it. It is a movement towards something hopeful and radically collective, even if the language it critiques is not yet able to adequately register that something’s existence.’

Eleanor Perry on Meat in Tripwire 13: Dialogues (September 2017), pp. 241-244.

Exhibition: A Century of Avant-Garde Magazines

I curated a small exhibition on avant-garde little magazines for the Cambridge English Faculty and Centre for Material Texts, on view on the first floor of the English Faculty Building, 9 West Road.

The exhibition includes print magazines associated with Dada, Modernism, the British Poetry Revival, the mimeograph revolution, feminist and contemporary communities, and a digital display of materials published on the peripheries of Conceptual Art and Conceptual Poetry, Language Writing, Fluxus, and many other avant-gardes. Moving away from a focus on the individual author or the single work, the exhibition emphasises the material richness and collaborative spirit of experimental publications and publishing communities, drawing attention to their innovations in design, typography, and aesthetic form, and to the collective work of editors, practitioners, readers, and other, often invisible, participants. The items on display are on loan from the Cambridge University Library, English Faculty Library, and private collections, while the digital materials are photographs taken in a number of archives, from the Beinecke Library (Yale), Fales (NYU), Princeton, New York Public Library, to MoMA, among others.

I will be giving a talk about the exhibit and my research in the English Faculty Boardroom on Monday, 5 June 2017, 3-4pm.