In this post you will find:
1) New links for the new assigned readings — to be done for class on WEDNESDAY (next class)
2) Directions for the FIRST (of two) very short writing experiments — the final version of this writing is due on SATURDAY, WEEK 3
Note: Directions to some follow-up writing will be given out in class on Wednesday.
3) Announcements about an upcoming reading (optional, but highly recommended) and other stuff
4) A brief note recalling for everyone where we are in the syllabus and where we are headed (a revision, based on last class)
1.) ASSIGNED READINGS — DUE TO BE READ FOR NEXT CLASS (WEDNESDAY, WEEK 3)
Make sure to bring with you to class (as computer file or printed out), if at all possible. All readings are VERY short, except the Stryker, which is 18pp. The rest are single poems or very short excerpts.
a) Judith Butler, Intro to Undoing Gender LINK IS HERE
b) Susan Stryker, “My Words To Victor Frankenstein” at Scribid, LINK IS HERE
c) kari edwards, “subject : statement” — a poem, from the journal EOAGH — LINK IS HERE
d) kari edwards, “a narrative of resistance,” from Troubling The Line: Trans and Genderqueer Poetry and Poetics (Nightboat Books, 2013) — WILL BE SENT AS E-MAIL ATTACHMENT
e) Dawn Lundy Martin, “Negrotizing In Five or How To Write A Black Poem” — LINK IS HERE NOTE: READ ONLY THIS FIRST POEM (there are several poems on this webpage, and the poem above to be read is THE FIRST POEM/AT THE TOP OF THE PAGE). NOTE: FOR AUDIO & VIDEO VERSIONS OF THIS AND OTHER POEMS, GO TO THIS LINK
RECOMMENDED READING (TOTALLY OPTIONAL, AT LEAST FOR THIS WEEK):
–Dean Spade, Morgan Bassichis, Alexander Lee, “Building An Abolitionist Trans And Queer Movement With Everything We’ve Got” (time permitting, this article will be assigned and/or excerpted in class) — LINK IS HERE and DEAN SPADE’S WEBSITE IS HERE (this article and others, including video/audio versions of talks and papers, can be found on this site, an excellent resource on trans law, race, poverty, organizing, and more generally on queer & trans radical thought).
–VIDEO/AUDIO Talk, “Christine In The Cutting Room,” By Susan Stryker, discussing overlapping problems & concerns as “My Words,” our assigned reading. LINK IS HERE
–Video/Audio Talk by Michelle Tea, LINK IS HERE
–CAConrad, “Editorial Statement” (time permitting, will be assigned later in the quarter) LINK IS HERE – by CAConrad for the issue of EOAGH, dedicated to kari edwards, called “Queering Language.” I give this to us, for any who can find the time this week (not assigned), to contextualize further the different threads at work here these during these two weeks.
–The whole of this rich, diverse and beautiful collection is available online, with the other editors’ statements and collected pieces all, courtesy of EOAGH, LINK IS HERE
2.) WRITING EXPERIMENT DIRECTIONS:
HERE IS A LINK TO THE WEEK 3 WRITING EXPERIMENT, “A Campus Archeology” – CLICK FOR THE DIRECTIONS
*There is more writing to do later this week, but this is the first part of it. ALL FINISHED WRITING FOR THIS WEEK IS DUE SATURDAY, so by end of Week 3. Please try to have as much of this part of the writing done as possible by Wednesday.
*Also: these DIRECTIONS, SINCE THEY ARE VERY SHORT, ARE AT THE END OF THIS BLOG POST. So, SCROLL or CLICK THE LINK ABOVE. Up to you, same directions, just different ways to read.
*This course actively supports The Artist Lecture Series by co-sponsoring some of its guests. This week, on Wednesday, our guests are fantastic poets/writers Amaranth Borsuk (of UW Bothell’s MFA for Creative Writing) and Andy Fitch. This event is OPTIONAL BUT HIGHLY RECOMMENDED. Details:
Weds, 11:30am in Lecture Hall 1 on campus.
*Starting Monday at 8pm, Clel Howard will be hosting and facilitating (with you) the first of our regular optional extra classes, which we are calling “The Back Room.”
The optional but recommended “Back Room” begins at 8pm. Clel’s address was put on blackboard in class the first two days, as well as last class. Please try to go—this has traditionally been a great opportunity to go more deeply into what it is you’d like to focus your attention on in this course, as well as to cover what we can’t cover during our regular/required class times. Remember, I am not going to be a part of this recommended seminar period—this is meant to be led and driven by students. Many thanks to you all who are participating, and to Clel, for making this autonomously-driven “Free School-inspired workshop” a reality! Looking forward to hearing back about how the first session went!
4.) SYLLABUS REVISION — SOUND-MEMORY WRITINGS:
I chose to extend our group writing and discussions on the Foucault “arts of distribution” section, since when I checked in with groups, you all seemed so happy. Well, OK, actually you simply said you needed more time. This is a good thing. It does mean that we only got to the very beginning of our Ultra-Red language lab — which involves doing some creative writing response and other forms of workshop with your writings from last week.
So, we’ll spend part of next class — and if necessary part of Saturday Week 3 class — doing the main parts of that workshop. So PLEASE BRING YOUR ULTRA-RED SOUND MEMORY WRITINGS TO CLASS WITH YOU ON WEDS!!! I am VERY MUCH enjoying the inventive and often gorgeous writing you’ve done. If you haven’t sent it in yet (most of you have) as emailed attached file (to d’s inbox), please do so asap!
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WRITING PROMPT #2, Winter 2015 / Inscribing The Body
“Wreading Foucault, Or: A Campus Archeology”
(these are the same directions as the link above, just pasted in)
Email d with questions, or to send completed writing / wolachd(at)evergreen.edu
STEP 1: Choose ONE of the sub-sections of “Docile Bodies” (one of the “Arts of Distribution—there are four, which we summarized and discussed in small groups in class on Saturday). For example, take the partitioning section. You may choose to use any ONE of the arts of distribution to complete this writing prompt, though I encourage you to choose the one that your group discussed in class.
Note: if you were not in class for Sat. language lab, to get yourself caught up with things to the extent that you can still do this writing prompt without confusion, before going any further, SUMMARIZE the art you’ve chosen in writing (take 5-10 min. to summarize).
STEP 2: FIND A PLACE ON THE EVERGREEN CAMPUS THAT YOU FEEL MATCHES WELL, I.E., ENACTS, THE ART OF DISTRIBUTION that you’ve chosen to use/creatively investigate for this writing. Find a space/place on campus, that is, which “partitions” or forms “enclosure,” etc. Remember, all institutions argues Foucault, distribute power and organize bodies, and most historically have made bodies more docile in relation to the institutions those bodies are in or part of. And recall that for Foucault this occurs via turning organization of the body, space, and time, into an artform (elsewhere in this book and in the chapter you’ve read, Foucault calls such artforms “sciences” or “technologies.” These terms are interchangeable, where an “art” or “technology” of distribution, for Foucault, is the theory and application of that theory, in this case of the body and of spaces bodies inhabit–these are arts, then, but also technologies, of bodily distribution).
STEP 3: For 20-30 min, WHILE IN THAT SPACE, take some free-written notes, noting how and to what degree that space you chose enacts that art of distribution you also chose to focus on. This is to say, investigate the space/place on campus and take notes not just on how the space/place functions, but how and why it might relate to the art of distribution you’ve chosen to focus on.
STEP 4: Either in the space you are taking notes or while at home (I recommend doing this at home), begin to DO AN “ARCHEOLOGY” OF THAT CAMPUS SPACE BY MAKING A PIECE OF CREATIVE WRITING that in itself enacts, responds to, and IN FORM (not just “content”) somehow evokes, accords with, resists, intervenes in, resonates as, inscribes, or otherwise experiments with, the arguments of the sub-section you chose. Evoke the effects of the space, or resist them via your creative writing. Your creative writing SHOULD USE YOUR EXTENSIVE NOTES as the raw materials, hence your writing is written in part from a sort of “field research,” what Foucault refers to as “archeological” writing.
BASIC CONSTRAINTS FOR THIS WRITING:
The form of the writing is largely up to you, and this time, so is the genre of writing. The main puzzle for you to solve is to ask what your writing desires when it is meant to evoke and somehow respond to the space on campus that you’ve researched/inhabited by way of how that space re-distributes your body (and other bodies) and therefore alters modes of behavior. What does the form of the writing need for you to evoke for readers this relation between Foucault’s ideas and the things about the space you’ve noted? THE BASIC LENGTH CONSTRAINTS FOR THIS WRITING ARE:
–For fiction/prose: 3pp single-spaced, MAX. Minimum 1-page of fiction/prose.
–For poetry or “performance” writing, length should be “ode-length,” which is 2-3pp of poetry or performance writing.
–Revise at least once before sending it to d and having it ready for in-class work.
STARTER QUESTIONS / TIPS:
–How might a poem or piece of performative/creative writing “enact” or “argue” or be shaped by, for example, Foucault’s notion of enclosure within the space you are doing the writing on campus (or how can that poem acknowledge its unavoidable confrontation with such a pervasive phenomenon)?
–How might this creative writing be, in a sense, an extension of your critical body (your body’s critical thinking) as framed through Foucault’s work? Your critical desires? Your critical needs? An extension of, to use poet Rob Halpern’s phrase, critical sexuality? All of these angles, and others you can think of, are on the table as entry points or architectures or forms for your piece of creative writing. Be playful and careful and enjoy.