This article shares an experimental poem created by three poet-researchers using an online word processor to collaborate within a single document. We attempt to blur the line between creative and academic writing, focusing on the possibilities for writing as a method of inquiry and the opportunities for different perceptions of being that it suggests. Our project unfolds as we also produce a brief diffractive reading that does not mirror or deconstruct the poem, but thinks it in an alternative way, as a broader collaboration, or intra-action between entities, both human and non-human. We avoid determining how our purported individual voices merge to form any united voice. Rather, we are alert to agencies and flows that complicate understandings of us as three rational, discrete, fully formed human figures articulating coherent narratives. We therefore offer a response to theoretical calls to explore collaborative writing as inquiry, through sharing our practice.
FEATURED FICTION
Just as absence mobilises the linguistic sign, so the felt experience of absence, through personal loss on the part of the writer, mobilises writing. While each of these ideas has been well-documented separately within their respective literatures, the fact of their correspondence, and its implications for the thinking of absence within creative writing studies, warrants further discussion. Engaging with the work of select thinkers within semiotics, literary philosophy, and psychology, this paper examines the operations of the analogous movement between the operations of the linguistic sign as a structure motivated by absence, and the phenomenon of generative loss in the experience of creative writers. Throughout, it draws from Roland Barthes's elegiac meditations on literature, loss and writing following the death of his mother, in Mourning Diary (2009). This paper suggests that just as writers are mobilised by absence to write, so do they in turn self-consciously mobilise the narrative and aesthetic powers of absence for their own literary ends. Interrogating the relations between these movements offers a means toward further understanding the particular aesthetic force of much elegiac literature, as it bears on our motivations, processes and felt experiences as writers and readers.
www.textjournal.com.au/april17/breen_rev.htm 3/3promise, the great attraction of a creative writing degree in the first place.Here's how to settle. Here's how to feel good about a career in advertising or writing copy in corporate America or churning out poetic vignettes about light fittings for a company who outfits nightclubs and casinos.Here's how to be an academic. Just because all of these pathways occur and that many of them have great rewards doesn't mean the notion of the 'Big W' writer should be distilled. Very few students come into creative writing wanting to be the lovely people who teach them or the modest, sensible people in the case studies provided. They want to be more, even if that ambition is risky, unlikely or even misguided. It is worth noting here that as far as can be gleaned from the biographies, none of the contributors has published a novel. Only one has released a full book of poems. Most have released more pedagogical books and papers than they have booklength creative work and this leaning probably accounts for and in some ways justifies the approach taken -creative writing operating at the edge of something else and not the centre.
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