EXCESS AND ASCESIS: TWO FEMINIST VISIONARY POETS
VOW, BY KRISTINA MARIE DARLING
THE BLUE RENTAL, BY BARBARA MOR
-“Let the woman learn in silence with all subjection. But I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence.”
Timothy 11 -12, The Bible, King James Version
-“Naturam expellas furca, tamen usque revenit.”
(“You can drive nature out with a pitchfork, she will nevertheless come back”)”
-Horace (65-8 BC), Epistles I.X.24
Kristina Marie Darling created a domestic drama that unfolds in white space, an emptiness surrounded by a commentary in the footnotes. It is a text without text, a Beckett-ian “texts for nothing” literalized. Barbara Mor created a panorama, a historico-politico-paleontological rant against collective and individual injustices. It is written with chthonic excess, with Whitman-esque long poetic lines set amidst the painted landscapes of the American Southwest. Both Mor and Darling represent visionary feminist poetics; one spare and skeletal; the other a surrealist logorrhea.
Vow is about a marriage. Rendered in short lines and esoteric marginalia, the bride faces the slow reduction and negation of her identity. Unlike Mor’s work, The Blue Rental, Kristina Marie Darling’s work isn’t a frontal assault on violent male idiocy and its institutional tentacles (the state, the military, the corporation, etc.). Darling works through small meditations on relics and debris.
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