Amy's Reviews > Feminaissance

Feminaissance by Christine Wertheim
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it was amazing

Unidentified Flying Object

“Reading” the third-eye formal structure of Feminaissance gave me the opportunity to “examine” my desire: I’m most receptive to “encountering” critical theory if it formally emulates or formally “interrogates” what it is “addressing.” This is why I try to get my “news” from The Colbert Report. It’s "why" I read and write poetry. Along these "lines," the cover of Feminaissance provides an entry into the project. A “non-gendered” mouth that is a “real” mouth is inside another “real” mouth that seems to have been “cut out” from another mouth, perhaps one that is “real” or not “real” but designed to look “real” and presented as “feminine” or “gendered” by its lipstick. This dual mouth seems to be in a simultaneous state of both “rest” and “scream.” There are also two “eyes” that are “real” eyes, which seem to have been placed as “real” eyes inside “fake” eye pockets. The mouth and eyes are attached to what seems to be a “real” head, which is attached to what seems to be a “real” body, which seems to be part of a “real” cloth decorated with “fake” flowers, a cloth that appears wrapped around the “woman” in a way that might prevent “freedom” of movement. The cloth extends from the “body” into the background so that it is unclear as to where the body begins “and” ends. That’s the view from the “map” that will get you to the very “top” of the mountain. On the mountain’s peak the “air” is thinner: the “bodily” but not “verbal” suffocation is combined with the “delirium” of the cloth: yellow and red overlaid with the flowers you admired on the “trail” up. The spine’s sky-blue “test-tube” tone, which reminds you of the day’s “poetry” left behind, exacerbates the cloth’s “dramatic exuberance.”

As you head down the mountain you’ll notice things have “changed.” Two contributions are placed on the same page with the “organizing essay” lining the top like a breaking-news ticker. Concurrently “reading” two contributions plus the ticker resembles spacetime operating in a “formally innovative” poem. When the contributions are not overtly engaged with the spacetime of the “page” by taking the form of “prose,” the poetry, as expressed in the project’s third-eye form, and the relative time of prose, as expressed in the essays, are activated in chorus by the reader’s “imagination,” resulting in a hyperdimensional time signature. When the contributions are overtly engaged with the spacetime of the page by taking the form of poetry or “non-linear” prose, the poetry gets Planck, resulting in a gravitational time signature. Warping time is one of the great possibilities of poetry, which, "in my opinion," mutates toward novelty—beyond gender, beyond news. That’s why on its formal scale alone I would "call" Feminaissance a book of poems. No one ever expects to get “abducted” on a mountain. But I know from “experience” that anything can “happen.”


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Reading Progress

Finished Reading
May 5, 2010 – Shelved

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