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Dorothy Richardson
This book draws on Dorothy Richardson's short fiction and for the first time assesses the significance of her contributions to the avant-garde film journal, Close Up.
Kelptown
How do we find anchorage in a time of planetary crisis, 'our words/ for world migrating'? 'What is common in this. Explain.' "These are poems that open us to new relations with the world." (David Herd)
Women at War
The Persian Gulf War changed the face of combat. It brought women’s military roles into the spotlight, in large part via the mass media, and showed that many women performed combat roles similar to those of men during the conflict. The war was thus an impetus for changes in laws that had prevented women from serving in combat assignments. In past centuries, because it was not culturally acceptable for women to serve in combat, surprising numbers joined secretly under assumed male names. After defining exactly what is meant by “war” and “combat,” this work presents historical and present-day views of the involvement of women in the military. The impact of regulations on women in combat is analyzed, as is the role of the American public in the controversy. Female combat is put into context with sociological theory; also discussed are readiness, cohesion, ability, sexuality, equal opportunity and family issues.
Occasionals
Written over 12 months, from 23 September 2006 to 14 September 2007, Carol Watts' sequence of poems explores the freight of a year with an ear to its future. Fragments and "cuts" of time and memory, light, sound, weather, the voices of children. John Clare wandering among rinds of a shoe-making village and city parakeets. Small series, detonating. The working through of an occasional tense, its cost, its serious music, its gift. This is Carol Watts' second poetry collection for Reality Street, the first having been "Wrack" (2007).
Laurence Sterne in Modernism and Postmodernism
Laurence Sterne's Tristram Shandy is the most wayward -- and in some respects the most powerful -- critique of Locke's theory of knowledge, while his interest in the gulf between biological and clock time makes him a contemporary of Proust and Bergson. In obscuring the fine line between autobiography and fiction, Sterne belongs to the generation of modern writers that includes Joyce and Nabokov. In his deliberate refusal to construct a 'goahead plot' Sterne commends himself to contemporary narratologists. In his concern with personal identity, he anticipates the Derridean stress on 'trace'. In his promiscuous borrowings from past authors, he offers himself as a suitably perverse model for th...
Poetry and Listening
At the intersection between sound studies and new lyric criticism, this book explores the social, political and ecological dimensions of contemporary poetry's acoustic contexts. It discovers how poetry in the UK and USA has been re-energised by the influence of recorded sound and the creative methods that emerged with it.
Refugee Tales
Two unaccompanied children travel across the Mediterranean in an overcrowded boat that has been designed to only make it halfway across… A 63-year-old man is woken one morning by border officers ‘acting on a tip-off’ and, despite having paid taxes for 28 years, is suddenly cast into the detention system with no obvious means of escape… An orphan whose entire life has been spent in slavery – first on a Ghanaian farm, then as a victim of trafficking – writes to the Home Office for help, only to be rewarded with a jail sentence and indefinite detention… These are not fictions. Nor are they testimonies from some distant, brutal past, but the frighteningly common experiences of Euro...
When Blue Light Falls
"As 'blue comes on' in these elegies, a unique genre emerges, a lyrical epic that speculates on a world imagined through the physics of blue light, 'cyanometrics', the blue waves of the spectrum, shorter and faster moving when split from the norm of white light. In this new, formative referential world of blue, perception changes. As Carol Watts thinks blue, and makes strange cognitive experience, the long-held European myth of the power of vision as a knowledge-making faculty dissolves, along with the confident centrality of the perceiving subject. There is no 'I' in this work, the first person is eliminated. In this new space/time of her enigmatic lyrics a spare, cryptic language evolves. ...
