American Hybrid Poetics: Gender, Mass Culture, and Form

Index

Index abject, the, 16, 61–64, 122, 123 affect: in films of 1950s and 1960s, 62; in Laura Mullen’s Murmur, 16, 47, 50–53, 55, 57, 60, 64, 69; in noir, 93, 96; in Notley’s work, 81, 82, 87; in Rankine’s Don’t Let Me Be Lonely, 135, 141, 142, 145, 147 African Americans: African American blues epic, 107; Black Arts movement, 108, 112–13, 114; criticism of literature of, 105; marginality of, 109; in Harryette Mullen’s work, 115–23; as other, 110; violence against, 142–43. See also black women Altieri, Charles, 52–53, 54, 55 “American Crimes and How They Matter” (Stein), 22, 36–37, 42 American Hybrid (Swensen and St. John), 1, 3, 4–10 American Women Poets in the Twenty-First Century: Where Lyric Meets Language (Rankine and Spahr), 13, 152n24 Armantrout, Rae, 4, 5, 151n5 Ashbery, John, 10, 76, 101, 102, 136, 141 At Night the States (Notley), 71 Autobiography of Alice B. Toklas, The (Stein), 23, 43 avant-garde community: aporias in aesthetics of, 106; author signature in works of, 80; Baudelaire’s Les Fleurs du Mal and, 100; gender politics in, 13, 72; and high-low divide, 13, 27; and hybrid poetics, 1–2, 4, 7, 11, 12–13, 14, 80, 85; on the lyric, 79; mandate to renew of, 6, 7; marginality associated with, 109; masculinist dogma of, 2, 28, 85; Stein’s Blood on the Dining-Room Floor and, 29; as white dominated, 9 Baudelaire, Charles: black women in poems of, 104–5, 110–12; flâneur of, 17, 71, 74, 104, 110, 114; Les Fleurs du Mal, 46, 100, 104, 110–11, 120–23, 126, 160n5; prose poem invented by, 17, 100, 101, 160n5; “Sed Non Satiata,” 117 Bell, Kevin, 144–45 Bergvall, Caroline, 16, 47 Berlant, Lauren, 60, 70, 149, 157n24 Bidart, Frank, 47, 56 Biddinger, Mary, 8 Black Arts movement, 108, 112–13, 114 black women: in Baudelaire’s poems, 104–5, 110–12; black female body in early prose poetry, 17, 105; as desired and discarded, 122; Manet and, 108, 109, 120–21; Harryette Mullen and, 100, 105, 106–7, 109, 113, 114, 116–20, 121; objectified in modern poetry, 101, 105, 112; in subject position, 131 Blood on the Dining-Room Floor (Stein), 20–43; Lizzie Borden in, 15, 29–30, 36, 37–39; critical reception of, 14, 23, 166 / index 24, 26, 28, 31; dead Englishwoman in, 41–42; death in the village hotel, 22, 32, 39; desire for closure frustrated in, 15, 26, 30, 41; as detective story, 14, 15, 23, 24, 26, 29, 30–31, 41, 43, 44; domesticity critiqued in, 15, 29, 30, 31–33, 35, 36, 37, 40–41, 42; as genre fiction, 14, 153n13; gothic conventions in, 15, 26, 29, 31, 32, 35, 41–42, 43, 44; Hammett’s The Dain Curse compared with, 25–26; as “just conversation, 22, 30, 31, 36; lesbian sexuality in, 15, 29, 30–31, 32, 33, 34, 39, 42; Laura Mullen’s Murmur compared with, 16, 44, 56; narrator of, 15, 22, 31, 35–36, 37; new servants arrive, 22, 31–32, 37, 40–41; patriarchy critiqued in, 15, 29, 34, 35, 41, 42; plotting of, 23, 30, 31, 33, 42; “read the beginning again,” 27, 34; references to other Stein works in, 22, 29, 40, 42; as social critique, 154n32; as textual hybrid, 22–23, 24, 29, 43 Borden, Lizzie, 15, 29–30, 36–39, 40 Bryant, Marsha, 49, 68–69 Burt, Stephen, 3–4, 5, 9–10, 102 “But He Says I Misunderstood” (Notley), 78–79 cannibalism, 100, 111–17 capitalism: consumer, 12; in established criticism, 11; loss of vocabulary for talking about, 93; mass-market fiction as revelatory of structure of, 44; Harryette Mullen in context of international, 106; noir in export of, 95–96; Notley’s Disobedience on, 16–17, 87, 99; Rankine’s Don’t Let Me Be Lonely on, 138, 141; Stein’s Blood on the Dining-Room Floor on, 41 Celan, Paul, 124, 134–35, 146, 147 Césaire, Aimé, 18, 124, 146–47 Cha, Theresa, 3, 127, 136 Close to Me and Closer (Notley), 71 Clover, Joshua, 7–8 Collins, Patricia Hill, 17, 113–14 Coming After (Notley), 75 Confessionalism, 77, 78 consumerism: consumer capitalism, 12; consumer culture, 2, 13, 18; demand for female corpses, 44; Harryette Mullen’s S*PeRM**K*T on, 114–15; Laura Mullen’s Murmur on, 49; in Notley’s Disobedience, 88, 95–96; racism in popular...