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Radical Politics in Postmodern American Poetry Christopher J Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations 12-2016 Poetry matters: Radical politics in postmodern American poetry Christopher J. Padgett Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Part of the American Literature Commons Recommended Citation Padgett, Christopher J., "Poetry matters: Radical politics in postmodern American poetry" (2016). Open Access Dissertations. 984. https://docs.lib.purdue.edu/open_access_dissertations/984 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. POETRY MATTERS: RADICAL POLITICS IN POSTMODERN AMERICAN POETRY by Christopher J. Padgett A Dissertation Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy Department of English West Lafayette, Indiana December 2016 ii THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF DISSERTATION APPROVAL Dr. Wendy Stallard Flory, Chair Department of English Dr. Daniel Morris Department of English Dr. Arkady Plotnitsky Department of English Dr. Lance Duerfahrd Department of English Approved by: Krista L. Ratcliffe Head of the Departmental Graduate Program iii For Neil and Louise iv ACKNOWLEDGMENTS Thank you to my committee members, Wendy Stallard Flory, Daniel Morris, Arkady Plotnitsky, and Lance Duerfahrd. I am especially grateful to Wendy Stallard Flory, my director, for her patience, kindness, and guidance. I owe a huge debt of gratitude to my friends and family for their love, support, and encouragement. For many years, and on a weekly basis, Pressley Henningsen reminded me of the importance of finishing my degree. Most of our conversations started with the same question: “Did you get your paper done?” Finally, I can say, “Yes.” Thank you, Pressley, for your true and honest nature and for showing me what it means to work hard. Seema Kurup was a constant source of support, as a critical reader and a loyal friend. She never let me forget what the dissertation represented for my father, Neil, and especially for my grandmother, Louise, both of whom I lost during the process of writing. Alex Fuller reconnected me to the work of spiritual warriorship and showed me the real meaning of a sad and tender heart. Finally, I need to thank Marianne Fontes. She has given me more than I deserve. Her love, openness, compassion, generosity, and overall positive spirit ground me, connect me, and continually remind me of what really matters. v TABLE OF CONTENTS Page ABSTRACT……. .............................................................................................................. vi INTRODUCTION .............................................................................................................. 1 CHAPTER 1. TOWARD A THEORY OF POSTMODERNITY IN AMERICAN POETRY……….. ............................................................................................................... 5 CHAPTER 2. THE POLITICS OF PLAY IN THE POETRY OF ROBERT GRENIER AND SUSAN HOWE ....................................................................................................... 53 I. Introduction ................................................................................................. 53 II. Robert Grenier ............................................................................................ 56 III. Susan Howe ................................................................................................ 73 CHAPTER 3. NATURE AND THE POLITICS OF INTERDEPENDENCE IN GARY SNYDER'S MOUNTAINS AND RIVERS WITHOUT END AND A.R. AMMONS'S GARBAGE ……… ............................................................................................................ 97 I. Introduction ................................................................................................. 97 II. Gary Snyder .............................................................................................. 106 III. A.R. Ammons ........................................................................................... 127 CHAPTER 4. FROM PARODY, PASTICHE, AND THE POLITICS OF (FUNNY) GRIEF IN SHERMAN ALEXIE'S FACE TO PLAGIARISM AND PRIVILEGE IN THE CONCEPTUAL WRITING OF KENNETH GOLDSMITH ……… ............................ 149 I. Sherman Alexie ......................................................................................... 149 II. Kenneth Goldsmith ................................................................................... 173 WORKS CITED ............................................................................................................. 201 vi ABSTRACT Author: Padgett, Christopher J. Ph.D. Institution: Purdue University Degree Received: December 2016 Title: Poetry Matters: Radical Politics in Postmodern American Poetry Major Professor: Wendy Stallard Flory Directly or indirectly, poetry produced in the postmodern era is implicated in the politics of the time. Postmodern American poetry, then, is not reducible to a single poetic mode or to a specific set of stylistic features. In other words, a more comprehensive understanding of postmodern American poetry can be made by employing a flexible version of Raymond Williams’ notion of uneven development, a theory that insists on the synchronic existence of dominant, residual, and emergent cultural elements. As the stylistically and politically diverse work of the six poets—Susan Howe, Robert Grenier, Gary Snyder, A.R. Ammons, Sherman Alexie, and Kenneth Goldsmith—examined in this dissertation illustrates, postmodernism is a period in which multiple modes or versions of postmodern poetry exist and flourish. 1 INTRODUCTION Postmodern poetry, to appropriate a phrase from Linda Hutcheon, “cannot but be political” (The Politics of Postmodernism 3). Perhaps a poem flows with postmodernism, perhaps it fights against it, perhaps it attempts to ignore it, or maybe it evidences a combination or even a potentially contradictory mixture of these positions. Regardless, poetry produced in the postmodern era is implicated, directly or indirectly, in the politics of the time. In this sense, postmodern American poetry is not reducible to a single poetic mode or to a specific set of stylistically experimental features, as many critics have claimed. Instead, as the diverse work of the six poets examined in this dissertation illustrates, postmodernism is a period in which multiple modes or versions of postmodern poetry exist and flourish within a culturally dominated system. In other words, I argue that a more comprehensive understanding of much postmodern poetry can be made by utilizing a flexible version of Raymond Williams’ notion of uneven development, a theory that insists on the synchronic existence of dominant, residual, and emergent cultural elements. As I argue in the first chapter, postmodernism is not dead. In fact, it is a distinct and ongoing historical period, increasing and intensifying like a wave moving toward a shore. A kind of energy, a process, it changes, crashes, and reforms. Recognition of its continued existence generates the ability to understand its influence, including its influence on poetry and the critical view of that poetry. As Douglas Kellner notes in “Reappraising the Postmodern: Novelties, Mapping, and Historical Narratives,” postmodernism engenders a “critical theory of the contemporary moment” that is 2 “transdisciplinary and multiperspectivist” (123). Historically, however, poetic scholarship has been resistant to this concept, a fact reflected in traditional forms of literary criticism, literary histories, and, less directly, in poetry anthologies. This resistance is also historically tied to a conception of poetry as a politically inert art and to a construction of literary merit that values aesthetics over politics. This complex but nonetheless definable history, which I discuss at length in the first chapter, helps to explain numerous constructions of postmodern American poetry in purely aesthetic terms, most often as an experimental style. Altering this view, I argue for a broader and more flexible understanding of postmodern poetry, one that construes it as part of an historical period. Such an understanding not only accounts for the proliferation of diverse styles during the postmodern era but also creates space for a closer examination of poetry’s relationship to the dominant culture. In short, the first and remaining chapters constitute a kind of guide to walking the uneven and politically enmeshed landscape of postmodern American poetry, a term itself that is filled with numerous contradictions. Its various chapters represent examinations of some of the directions of postmodern American poetry over the past 70 or so years, along with their attendant politics. There is also a kind of periodizing in the author selections, beginning with Language Writing and the poetry of Robert Grenier and Susan Howe, whose work, along with the movement as a whole, significantly challenged the collusive efforts of publishers, universities, critics, and other institutions in their manufacturing and maintenance of a dominant aesthetic. In addition, Language Poetry also offered a symptomatic expression of a need to challenge the commodification and ownership of language by the dominant culture, particularly by corporations, media, and the purveyors 3 of history. Despite its current and inevitable incorporation and dilution, its varied poetries,
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