To Conform or Not To?

I dislike Stein's poetry. I am unable to process and understand it on even a basic level. On the other hand, I find Hacker's moving, erotic, filled with imagery and symbolism that speaks to me....

Stein’s removal of grammatical markers simply makes hir poetry difficult to comprehend....Hacker takes a basic form and makes it hir own. Ze uses a form which is “traditional” to describe an act which has been consistently erased from history....an appropriation of a form considered to be gendered for hir own purposes....

Besides, Hacker’s poem is hot.

(And Stein's is not?)

First, I want to make you come in my hand

while I watch you and kiss you, and if you cry,

I’ll drink your tears while, with my whole hand, I

hold your drenched loveliness contracting. And

after a breath, I want to make you full

again, and wet. I want to make you come

in my mouth like a storm. No tears now. The sum

of your parts is my whole most beautiful

chart of the constellations—your left breast

in my mouth again. You know you’ll have to be

your age. As I lie beside you, cover me

like a gold cloud, hands everywhere, at last

inside me where I trust you, then your tongue

--"Now that is a lesbian love poem. It's a Petrarchan sonnet..."

--what makes it a lesbian love poem?

--what keeps "Lifting Belly" from being one?

Penelope Engelbrecht, "'Lifting Belly is a Language': The Postmodern Lesbian Subject," Feminist Studies, 16, 1 (Spring 1990): 85-114.

Susan Holbrook, "Lifting Bellies, Filling Petunias, and Making Meanings through the Trans-Poetic." American Literature, 71, 4 (December 1999): 751-771.

--oddly contradictory critical responses: erotic, "explicit"...also veiled or coded
--decoding seems to miss the mark: the one-to-one equivalence that encryption presumes would deny the polysemnic, indeterminate trajectories of Stein's vocabulary
--the word can be erotic on two opposing conditions, both excessive: if it is extravagantly repeated, or on the contrary, if it is unexpected, succulent in its newness
--"insistence" draws our attention to the material of language, which is generally rendered a silent ferry to the signified....iteration invites us to engage sound and shape in a more intimate way--to enjoy close reading.
--[from "A Transatlantic Interview 1946:] "You had to recognize words had lost their value in the Nineteenth Century...they had lost much of their variety, and I felt that I could not go on, that I had to recapture the value of the individual word, find out what it meant and act within it."
--Stein's poetic interrogates the very surveillance of visibility....Error offers the promise of freedom in a language that would correct deviance, a language that...offered very little in the way of a lexicon for lesbian partnership
--the meanings produced are variable, multiple, and provisional....What drives this persistent variability is a radically paradoxical representational stance....Stein...repeatedly overturns moments of clear referentiality
--only by a sort of indirect treatment...we can hope to grasp the object...because as soon as we name it...our sense of a vital particularity is eclipsed in the generic blankness of the noun...
--nouns are redeemable...in the context of poetry..in the genre that "is doing nothing but using losing refusing and pleasing and betraying and caressing nouns....that is poetry really loving the name of anything and that is not prose."

--Stein's ambivalence about naming resonants with more contemporary concerns about the limitiations of identity politics...the simultaneous exigency and liability of naming abjected sexuality. If a taxonomy is felt to be crucial for gays and lesbians as a means to facilitate community building and identification, it can certainly also serve the interests of state control, easing the regulatory mechanisms of, for example, homophobic legislaiion and medical pathologization.

--"Can sexuality even remain sexuality once it submits to a criterion of transparency and disclosure, or does it perhaps cease to be sexuality precisely when the semblance of full explicitness is achieved?....I would like to have it permanently unclear what precisely that sign [the word lesbian] signifies....[to establish] the instability of the very category that it constitutes." (Judith Butler, "Imitation and Gender Insubordination," in The Lesbian and Gay Studies Reader, 1993)

An Interview with Marilyn Hacker, Frontiers 5, 3 (Autumn 1980), 22-27:
Any piece of writing thatat doesn't suggest...change...is by definition propaganda for the status quo...Sloppy language is sloppy thinking. It's letting words fall together because one has heard them together too many times before....

the novel demands some kind of resolution. A poem, on the other hand, tends to take place in a given moment. It doesn't demand a novelistic denoument...It's the observation of a given moment in time....certain experiences...hone...attention to that intensity of observation that permits poetry....Poetry can...widen..the focus of that attention...

There is something in the construction of a work of art that permits resolution without there having to be a happy ending...