I can’t quite enjoy these drafts (77-95), and I don’t know if I’ll finish them (that’s ok, they’re necessarily incomplete “drafts”). DuPlessis is clearly a talented poet with strong allusive / hermetic skill. But everything just flashes momentary and then dies, as something meaningless, as soon as I treat the unit (be that a line, phrase, word, whatever) as anything more than a fragment. I am not sure if she’s aware that we might respond like that, or not
S/one stalks those sprechstimme blues.
Yeah, it’s noise that stays noise, nous saying news…
Everything here seems for me to get dragged into this sense of totalising nothingness. I suspect I’ll enjoy this collection if / when finished, which is a strange response to a radically incomplete sequence.
I suppose this response I have is from the sense of writing in which a central feature becomes a marginal note – rather than vice versa, what I’m trying to return to and rework, ideally into evaporating etc. (leaving a meaningful “poem”).
An inverse switching, of margin to centre, may be the case here for some, even-though prima facie it isn’t in its act of composition.
Duplessis has a large feminist catalogue that includes a lot of criticism / scholarship into e.g. Objectivism, so I’ll stop thinking now.