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Books > Language & Literature > Literature: history & criticism > Poetry & poets
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Tiresian Poetics - Modernism, Sexuality, Voice, 1888-2001 (Hardcover)
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Tiresian Poetics - Modernism, Sexuality, Voice, 1888-2001 (Hardcover)
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Blind seer, articulate dead, and mythic transsexual, the figure of
Tiresias has always represented a liminal identity and forms of
knowledge associated with the crossing of epistemological and
ontological boundaries. In twentieth-century literature, the
boundaries crossed and embodied by Tiresias are primarily sexual,
and the liminal and usually prophetic knowledge associated with
Tiresias is based in sexual difference and sexual pleasure. Indeed,
in literature of the twentieth century, Tiresias has.com e to
function as a cultural shorthand for queer sexualties. This book
argues for the emergence of a Tiresian poetics at the end of the
nineteenth century. As Victorian and modernist writers re-imagined
Ovid's tale of sex change and sexual judgment, they also created a
poetics that grounded artistic or performance power in figures of
sexual difference- most often a feminized, often homosexual male
body, which this study links to the developing discourses of
homosexuality and sexual identity. This study reconstructs the
cultural history of this transsexual figure through readings of
work by late Victorian and modernist writers Edith Cooper and
Katharine Bradley, who collaborated using the pen name 'Michael
Field', and whose work may inaugurate the shift in Tiresian
mythographies; T.S. Eliot, whose poem The Waste Land includes
arguably the most well-known uses of Tiresias in modern English
Literature; Djuna Barnes, whose queer Irish-American Tiresias
provides an insistent voice of sexual and social marginalization;
and Irish poet Austin Clarke who set out to revise Eliot's use of
Tiresias but ended up narrating a myth of sexual panic. The book
also examines work by writers whose use of Tiresian figures
consistently linked sexual differences, especially homosexuality,
to forms of performative, poetic, and aesthetic power. If The Waste
Land established Tiresias as a figure of modernist textual and
sexual ambiguity, this book displaces that canonically central
representation into a more complex tra
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