The Ecopoetics of Jorie Graham: Lyric Engagement with the Material World
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The poetry of Jorie Graham explores the boundaries between the human subject and the material world by employing experimental language and lyric subjectivity to re-think our relationship with the material world. Graham has been unduly criticized both by postmodern quarters for her persistent use of lyric subjectivity as a privileging center of perception and by ecocriticism sectors for the linguistic experimentation of her poetry that overlooks the material world. However, for Graham, language and subjectivity are not isolatable from each other; moreover, they acquire their existence by taking on materiality. Her lyric subjectivity is firmly rooted within the material world, which never exists outside of us but emerges with us as a phenomenon. In this sense, her poetry enacts what Karen Barad would call “material-discursive practices,” in which the human subject, language, and matter are mutually entailed through their “intra-action” with each other. Subjectivity emerges, in Graham’s poetry, as fully engaged with the material world, acquiring its own material existence, since materiality and discourse, together with the subject, are co-constitutive of the emerging world. With insights drawn from Barad, this paper examines one of Graham’s masterworks Materialism (1993) to investigate how her experimental forms embody the process of intra-action between the human and the nonhuman, and the material and the discursive, while awakening our sense of interconnectedness with the material world we find ourselves in. The experimental form of Graham’s lyric poetry allows us to (re)engage with material-discursive practices, which may bring more environmentally sustainable configuration of the world.
Abstract
The poetry of Jorie Graham explores the boundaries between the human subject and the material world by employing experimental language and lyric subjectivity to re-think our relationship with the material world. Graham has been unduly criticized both by postmodern quarters for her persistent use of lyric subjectivity as a privileging center of perception and by ecocriticism sectors for the linguistic experimentation of her poetry that overlooks the material world. However, for Graham, language and subjectivity are not isolatable from each other; moreover, they acquire their existence by taking on materiality. Her lyric subjectivity is firmly rooted within the material world, which never exists outside of us but emerges with us as a phenomenon. In this sense, her poetry enacts what Karen Barad would call “material-discursive practices,” in which the human subject, language, and matter are mutually entailed through their “intra-action” with each other. Subjectivity emerges, in Graham’s poetry, as fully engaged with the material world, acquiring its own material existence, since materiality and discourse, together with the subject, are co-constitutive of the emerging world. With insights drawn from Barad, this paper examines one of Graham’s masterworks Materialism (1993) to investigate how her experimental forms embody the process of intra-action between the human and the nonhuman, and the material and the discursive, while awakening our sense of interconnectedness with the material world we find ourselves in. The experimental form of Graham’s lyric poetry allows us to (re)engage with material-discursive practices, which may bring more environmentally sustainable configuration of the world.
참고문헌 (30)
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