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By Z. Skoulding

This e-book specializes in the function of town, and its methods of mutual transformation, in poetry by way of experimental ladies writers. Readings in their paintings are positioned within the context of theories of city house, whereas new visions of the modern urban and its international relationships are drawn from their recommendations in language and shape.

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And this repetition is not performed by a subject; this repetition is what enables a subject and constitutes the temporal condition for the subject. This iterability implies that ‘performance’ is not a singular ‘act’ or event, but a ritualized production, a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production, but not, I will insist, determining it in advance.

20). Even the rhythms of night and day are worn like clothing as: ‘Daytime dark coats the office / in its strip-lit self’ (Morris, 2007, p. 19). The body is not only malleable in relation to the rhythms of the working day, but also shapes itself to the surfaces of the consumer products by which it is in turn consumed, as in the ‘unbelievable references / to a strangely melting plastic mould’ circulating through the poem’s gossipy surface: It sticks to your skin, then when you pull it off it leaves a residue.

It is a moment of revelation, in which the embedded structures of the city are revealed as more powerful than the tyrant himself. “ ‘This is not really” “his body,’ ” “I said to them,” “ ‘The structure We’ve just left –” “those around us –” “this city –” “how we’ve lived,” “is his body’ ” (Notley, 1996, p. 148) The question that remains is whether change is possible when, as one speaker suggests, ‘the earth, all life here” “is structured on,” “conducted through,” / “the medium of corpses,” “remains of corpses”’ (Notley, 1992, p.

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