Whiteness, Feminism and the Absurd in Contemporary British and Us Poetry - by Jenna Clake Paperback

About the Book

The first study to consider how Whiteness pervades and is challenged in contemporary British and US Absurdist poetry.

Book Synopsis

In an era of political and social turmoil on both sides of the Atlantic, where issues of gender, race and class are linked with concerns of how to survive in a capitalist society, a new aesthetic of Absurdist poetry has emerged. This aesthetic has a troubled relationship to race, pervaded by issues of representation in avant-garde poetry, and notions of who poetry writers and readers are. Focusing on British and US poets including Rachael Allen, Emily Berry, Crispin Best, Caroline Bird, Franny Choi, Jennifer L. Knox, Morgan Parker and Jane Yeh, Jenna Clake investigates how poets use the Absurd to destabilise ideas about race, gender and class and imagine social change. Bringing together Whiteness studies, socio-political theory, and close readings of poems, Clake examines how the Absurd has developed, how its poets understand privilege and offer prospects of hope and change, and how the Absurd might move away from nihilism.

Review Quotes

With inexhaustible energy and focus, Jenna Clake's work reanimates and illuminates a definitive aesthetic that tends to get overlooked in studies of contemporary poetics. She thereby makes it one of the most vital - and worthy of proper interrogation - forces in modern writing. This is the strongest account I've ever read of the Absurd's curious persistence, a deep analysis of its spirit (whether in defiance or despair) and its increasing relevance to artists, critics, readers and citizens. Immensely enjoyable to read - lucid, fiercely intelligent and conscientious in its outlook and positioning. To be introduced to new writing and appreciate the techniques of well-known poets in a way one hasn't considered before is a profound pleasure. Whiteness, Feminism and The Absurd in Contemporary British and US Poetry addresses a glaring omission in poetry scholarship, but also diagnoses the core anxieties of our century, and reframes the concerns, vitality and necessity of an emerging body of work. This is essential reading, as much for poets at any stage in their writing as it is for present and future scholars of twenty-first century poetry.--Luke Kennard, University of Birmingham