The “Dragging Foot” of José Garcia Villa’s Performative “Comma Poems”

Katie Bradshaw
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引用次数: 0

Abstract

José Garcia Villa’s “comma poem,” in which he introduces “a new, special and poetic use” for the comma, is arguably the poet’s most contentious innovation. Starting from an appropriation of Leonard Caspar’s description of the comma poems as “demonstrably malfunctional as a dragging foot,” this essay argues that the comma poem was a visual performance whereby Villa dis-oriented and de-naturalized poetic “flows” through a queer/crip aesthetic of hesitation and brokenness. Read as footsteps and/or footnotes, the comma’s minor mark interrupts and dis-ables normative flow, forcing the reader to adopt a nonnormative “gait.” Utilizing Sara Ahmed’s phenomenological theory of “queer orientation,” I examine how the comma poems’ specific incongruity extends beyond modern grammars: anticipating readings of his “foreignness” and “insensitivity” to the English language, Villa performs the essentiality of the “minor mark” through linguistic experimentation. In doing so, he queers not only the “direction” of modern poetry and its canonicity, but also a contemporary politics of recuperation.
加西亚·比利亚表演性“逗号诗”的“拖脚”
何塞•加西亚•比利亚的“逗号诗”中,他为逗号引入了“一种新的、特殊的、诗意的用法”,这可以说是这位诗人最具争议的创新。本文借用了莱昂纳德·卡斯帕(Leonard Caspar)对逗号诗的描述,认为它“明显像拖沓的脚一样失灵”,认为逗号诗是一种视觉表演,维拉在这种视觉表演中迷失方向、去自然化的诗歌“流动”在一种奇怪/蹩脚的犹豫和破碎的美学中。作为脚步和/或脚注,逗号的小标记打断和禁用了规范的流程,迫使读者采用一种不规范的“步态”。利用萨拉·艾哈迈德的“酷儿取向”现象学理论,我研究了逗号诗的特殊不协调是如何超越现代语法的:预料到他对英语语言的“异域”和“不敏感”的解读,维拉通过语言实验表现了“次要标记”的重要性。在这样做的过程中,他不仅改变了现代诗歌的“方向”及其经典性,也改变了当代的休养生息政治。
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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