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Dolls
Poems that address the pain caused by gender stereotypes and racial oppression in the American South. Claire Millikin's poetry collection, Dolls, stages a confrontation of gendered and racial oppression. Working through the motif of the doll, the poems interrogate femininity in the traditional culture of the South, where damaging structures of gender and race are upheld. Millikin centers the book on an elegy for Sage Smith, an African American trans woman who disappeared from Charlottesville in 2012. Through the recurring figure of the doll--an ultra-femme figure who is frozen, damaged, silenced--Millikin protests the conditions of sexism in the area she was born in, offering poised responses to the wound of injustice that still shapes the region. With a reflective introduction by poet and scholar Sean Frederick Forbes, Dolls presents a harsh look at the price of traditional femininity.
After Houses
AFTER HOUSES is an extended meditation on homelessness. In unflinching, raw poetry, poet Claire Millikin explores states of homelessness, and a longing for, even a devotion to, houses—houses as spaces where one could be safe and at ease. The poems move through an American landscape, between the South and the North, between childhood and adulthood, reaching toward a home that’s never reached, but always at one’s fingertips. Throughout the collection, Millikin draws from personal and family history, from classical mythology and architectural theory, to shape a poetry of empathy, in which some of the places where people get lost in America are faced and given place. AFTER HOUSES echo the voices of girls who have not quite survived, but who persist, intact in the way that Rimbaud insists on intactness, in words.
Ransom Street
Ransom Street is Claire Millikin's third collection of poetry with 2Leaf Press. The poems in this volume meditate on the idea of ransom to explore legacies of violence in the southeastern United States, ultimately seeking moments of reckoning for these unsettled histories. A fee paid to release a prisoner, ransom can, Millikin shows us, initiate a sacrificial act that drives people apart, but also, when paid, can bring the homeless home. The poems in Ransom Street move through the question of release elliptically, exploring these abstract implications of ransom through a fictional street in a southeastern American town. The presence of inherited violence, cultural and familial, haunt the terrain of Ransom Street, as the poems move through a geography of ghosts, always seeking "ransom," the sacrificial act that returns the self to wholeness.
Substance of Fire
SUBSTANCE OF FIRE: GENDER AND RACE IN THE COLLEGE CLASSROOM brings readers inside the four-year college experience, unfolding multiple perspectives and voices. This multi-genre book, written by college professor Claire Millikin, explores how race and gender function within the privilege of the four-year college classroom. Additional contributions are from recent graduates and current faculty, who interrogate the forces of sexism and racism from the various perspectives of gay, straight, biracial, white, African American, and Latino writers and artists. How does being a female professor differ from being a male professor? How does being a lesbian student make a difference in terms of accessin...
Women Photographers and Feminist Aesthetics
Women Photographers and Feminist Aesthetics makes the case for a feminist aesthetics in photography by analysing key works of twenty-two women photographers, including cis- and trans-woman photographers. Claire Raymond provides close readings of key photographs spanning the history of photography, from nineteenth-century Europe to twenty-first century Africa and Asia. She offers original interpretations of well-known photographers such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing their work in relation to gender, class, and race. The book also pays close attention to the way in which indigenous North Americans have been represented through photography and the ways in which contemporary Native American women photographers respond to this history. Developing the argument that through aesthetic force emerges the truly political, the book moves beyond polarization of the aesthetic and the cultural. Instead, photographic works are read for their subversive political and cultural force, as it emerges through the aesthetics of the image. This book is ideal for students of Photography, Art History, Art and Visual Culture, and Gender.
The Selfie, Temporality, and Contemporary Photography
This book is a theoretical examination of the relationship between the face, identity, photography, and temporality, focusing on the temporal episteme of selfie practice. Claire Raymond investigates how the selfie’s involvement with time and self emerges from capitalist ideologies of identity and time. The book leverages theories from Katharina Pistor, Jacques Lacan, Rögnvaldur Ingthorsson, and Hans Belting to explore the ways in which the selfie imposes a dominant ideology on subjectivity by manipulating the affect of time. The selfie is understood in contrast to the self-portrait. Artists discussed include James Tylor, Shelley Niro, Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier. The book will be of interest to scholars working in visual culture, history of photography, and critical theory. It will also appeal to scholars of philosophy and, in particular, of the intersection of aesthetic theory and theories of ontology, epistemology, and temporality.
Enough!
Anthology of poems by 26 Maine poets inspired by and responding to the Black Lives Matter protests and calls for social and racial justice. The third book in Littoral Books' Contemporary Maine Poetry Series.
Francesca Woodman and the Kantian Sublime
In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman's achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgement. Woodman's self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman's work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.
Our Finest Hour
Two lives. One hour. A lifetime consequence. I believe in choice, not fate. I chose to nurse a broken heart at the kitschy country bar that night. I chose to let Isaac Cordova buy me a drink. I chose to spend one hour with a near stranger in an attempt to soothe my pain. No last names, no details about our lives, just one hour where I was allowed to forget, and then we would never see each other again. But was it a choice when I ran into him five years later? I needed help, and he was the only person equipped to give it. Our instant attraction doesn¿t feel like much of a choice either, but it doesn't matter. Everything has changed. Now my choices impact other people.And what will I choose? Do I keep Isaac out?Do I dare to let him in?
