Archival Theater: Susan Howe's Tactile Elegies

Pub Date : 2021-12-04 DOI:10.1353/tsw.2021.0024
J. Brown
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Abstract

ABSTRACT:This essay examines two elegies in which Howe (re)collects both herself and her lost beloveds in and through the lacunae of the archive: The Midnight (2003), Howe's elegy for her mother, the Irish actress and author Mary Manning, and That This (2010), Howe's elegy for her late husband, the philosopher Peter Hare. In both works, Howe's acts of (re)collection and collage constitute a liminal theater in which the boundaries between text and image, poet and reader, archival object and the page, and the living and the dead, dissolve. Howe's is ultimately a poetics of tactual attention, a "telepathy of archives" that recalls and materializes what has been forgotten or marginalized and makes present what has been absent, lost.
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档案剧院:苏珊·豪的触觉挽歌
摘要:本文考察了豪在档案中和通过档案的空白重新收集自己和失去的爱人的两首挽歌:《午夜》(2003),豪为母亲、爱尔兰女演员兼作家玛丽·曼宁创作的挽歌,以及《这就是》(2010),豪对已故丈夫、哲学家彼得·黑尔创作的挽诗。在这两部作品中,豪的(重新)收集和拼贴行为构成了一个边缘剧场,文本与图像、诗人与读者、档案对象与页面、生者与死者之间的界限在其中消失。豪的诗歌最终是一种触觉关注的诗学,一种“档案的心灵感应”,它回忆和物化了被遗忘或边缘化的东西,并使缺失和丢失的东西呈现出来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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