Skip to main content


I'm back from AWP and then a short baby hiatus! The little guy is napping on his Boppy on my lap, so I'm going to catch up with some notes I made at AWP.

I ran into an old friend at the book fair, Alex Lumans, graduating soon from his MFA program. When we were in an undergrad poetry class together, he wrote a cool poem using the word portmanteau, which I'd never encountered before. It's actually a pretty common occurrance, a portmanteau is two words smushed together to make a new one that has some of the old meaning of the two words combined. Think Bennifer or Brangelina but with more linguistic substance.

Here's a cool site with a bunch of examples:

I'm especially intriqued by the Dormobile. I was disapointed to find out that this is a type of car/truck/van, not a mobile dorm, which would suck so bad that I love the idea. Would you have to find it every day when you come home from class? Imagine the dialogue..."oh shit, I'm going to be late to class because the dorm parked on the far side of campus this morning."


Popular posts from this blog

Women and Myth: Margaret Atwood and Circe

Circe, by Wright Baker "One day you simply appeared in your stupid boat," "Circe/ Mud Poems," Margaret Atwood, from You Are Happy I was alerted to this poem series by Estella Lauter's great chapter, "Margaret Atwood: Remythologizing Circe" from Women as Mythmakers. If you have the Norton Anthology of Modern and Contemporary Poetry, there is an excerpt in Vol. 2. And here is some interesting discussion of the text as well.

Feminist Ekphrasis: Margaret Atwood and Manet's Olympia

Margaret Atwood confronts the male gaze directly in her poem, "Manet's Olympia."

Armantrout's Feminist Poetics and the Meaning of Clarity

Because it doesn't seem to exist in digital form AT ALL, here's my annotation for this totally foundation feminist poetics essay. Rae Armantrout’s foundational essay “Feminist Poetics and the Meaning of Clarity,” offers a way of understanding the social in experimental poetry that is critical of a particular type of lyric subjectivity, described as univocal, closed, Romantic, imperial, and appropriative. For Armantrout, the stable poetic subject is inherently appropriative, serving epiphany demanded by mainstream form, constructed by metaphor’s appropriative nature. Armantrout specifically calls out the type of poems that most agree constitute conventional poetry of witness: “The conventional or mainstream poem today is univocal, more or less plainspoken, short narrative, often culminating in a sort of epiphany” (Armantrout 288). Elaborating, Armantrout argues that “such a form must convey an impression of closure, and wholeness, no matter what it says” (288). Closure an…