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May 19, 2025

Document 107: Archive Seminars

For its pedagogical interest, I want to document the 23 seminars and 1 proto-seminar that I taught at Wayne State University since 1995. The seminars build on a series of dialectical faultlines, from the first offerings on the avant-garde and social modernity; literary subjectivity and language; cultural studies and poetics; social form and literary agency; to the crisis of modernity and the subject. The arrival of the New Modernist Studies offered a disciplinary framework for this sequence, followed by twin historical critiques of the avant-garde and postmodernism. As the series developed, I tried to construct spaces that would unite critical thinking and poetry. The series provisionally concluded in 2018 after three seminars that pushed toward new approaches at a moment of increasing crisis in the university: “The Poetics of Value”; “After the End of History”; and “Questions of Unreason.” While it was not a foregone conclusion that this level of ambition could not continue, it is now now time to look back and imagine what the prospects of this pedagogical endeavor may have been, what they were as they unfolded, and what they still might be.

1. ENG 7004 / Fall 2018 / Theoretical Issues in Cultural Studies: “Questions of Unreason in Modern Cultures” (https://bit.ly/2vgHFYL)

This seminar will bring together several interrelated areas of inquiry: 1) critical and psychoanalytic theories that address the genesis and form of “unreason” in modern culture and public art, including Critical Theory after Dialectic of Enlightenment and The Authoritarian Personality and psychoanalytic theory from Freud to Žižek; 2) theories of language and the public sphere from Habermas to ideology criticism; 3) theories of populism, racism, xenophobia, fascism, and gender and class antagonism; 4) popular movements that are relevant to these theoretical approaches, from hyper-nationalism to fascism, populism, and authoritarianism; and 5) works of modernism and the avant-garde that reflect on, diagnose, or exemplify questions of public unreason, from surrealism to the present. [See https://bit.ly/2vgHFYL]

2. ENG 8004 / Winter 2018 / Seminar in Literature and Culture after 1870: “2049: Historicizing the Present After the End of History”

The release of Blade Runner 2049 offers a chilling register of the global present and its dark futurity. This seminar will take the questions explored by the film, in relation to its postmodern progenitor Blade Runner (1982/1992), and explore the historical present through a series of dystopian registers. These will include global capitalism, democracy, and authoritarianism; climate change and ecocide in the anthropocene; the man/machine interface in ever advancing forms of digital technology; new class formations and urbanization; gender, sexuality, and the decline of patriarchy; war and the fragmented body; and new forms literary and artistic representation and response, both mimetic and antimimetic.

3. ENG 7033 / Winter 2017 / Postmodernism and Postmodernity: “The Poetics of Value: Modernity, Crisis, and the Work of Art”

We are constantly reminded in public discourse that our “values” have deteriorated and that we are living in a state of “valuelessness” that requires drastic measures. This seminar will take up the relation of values as represented in works of art to underlying forms of value and valuation they depend on—from aesthetic to moral to political to economic. Putting the question of value to works of art and cultural production, we will read a wide range of genres and text—literary, visual, and cinematic—with major theorists of value from Kant to contemporary Marxism. The seminar will begin with questions of aesthetic and moral values and valuation but will look forward to the turn to political economy and critique of modernity that emerged after the financial crisis of 2008, broadening it to include the “making” of value in an economic sense as a question of poetics and the valuation of the work of art.

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April 6, 2025

Entry 65: Hands Off America!

For the thousand manifestations that dotted the American landscape yesterday, I want to post this broadside poem by Robert Creeley. It has always seemed a kind lurching effusion of a politics, a consequence of the state of mind he wrote it in without doubt. Creeley was often convulsive, and that is to the point of his aesthetic, even concerning details. But here the subject of his “attack” in William Carlos Williams’s sense is broad, vast, gestural, involuntary. It is worth remembering that much poetry that followed shelters in the shadow of that attack. Thus it bears some comment at a later moment, as late as the one we are in, where the poem resonates anew. … More

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March 16, 2025

Event 105: Transposition/Recovery

Launch of  Barrett Watten,
Not This: Selected Writings
Voznesensky Center, Moscow
46 Bolshaya Ordynka Street
January 24, 2025

The meeting focuses on how American literature experienced a “turn to language” in the 1970s, what the hybrid genres of contemporary poetry are, and the challenges faced by translators working with the “language trend” in literature. (Voznesensky Center announcement)

On the given date, at about 11:30 A.M. from a Detroit suburb, I was transported behind the lines of antagonistic states for a literary evening that, I hoped, would have long-term cultural and political meaning. It was not the first time had I stepped over this line, as I did for our “Summer School” in then-Leningrad, 1989, about which much has been written (including the multi-authored text published in 1991; here). Twenty-seven years later, with Carla Harryman, I traveled to now-St. Petersburg to participate in the Dragomoshchenko Prize awards in 2016. The consequences of these transpositions, as they may be called, between literary and cultural/political realities, continue to expand and be productive as sites of meaning. The turn to language turns out to be more than one thought. … More

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March 1, 2025

Event 104: Signifying Non-Solutions

“Dispersed Poetics: Signifying Non-Solutions
in Time of War”

Ekaterina Derisheva, University of Pennsylvania
Barrett Watten, Wayne State University
Jamie Olson, St. Martin’s University

The Louisville Conference on Literature and Culture
University of Louisville, February 22, 2025

“Dispersed Poetics: Signifying Non-Solutions in Time of War” introduces the work of experimental poets writing in Russian and Ukrainian, from positions of opposition, emigration, and displacement, from the late Soviet period to the present conditions of war and exile. The notion that “the non-solution must signify” is a formulation by critic Terry Eagleton that seems apt to the present moment, where poetry can best address a situation of profound indeterminacy.

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December 1, 2024

Entry 64: Communicating Vessels II

Marxism, at the end of the 19th century and the beginning of the 20th century, admitted that in capitalist societies mankind had not reached its full possibilities for development and self-realization. . . . [What] model did Marxism use to conceive, project, and eventually realize that human nature? It was, in fact, the bourgeois model: sexuality of a bourgeois type, family of bourgeois type, aesthetic of bourgeois type. —Michel Foucault, “Human Nature: The Chomsky-Foucault Debate” (1971)

The Waiting Room

I am in a medical waiting room in Novi, Michigan, reading the politics of dream in Les Vases communicants. On a large screen unfold tedious details of home improvement projects, finding new spatial arrangements, knocking out windows, sanding floors. Three older women are facing the screen, representative of Novi and its majority suburban demographics. They are possibly X voters, I imagine. Interrupting the quotidian program are three election ads, two paid for by Y and one by X. The space of the waiting room becomes a scene of unfolding dreams. In the first, X brags that he only hires the best in the business. We next meet a series of former subordinates, from A to B. All are white male counter authorities, having once believed in but turned from X. The message is impactful and distressing, a diremption in the structure of legitimacy. It provokes displeasure and crisis that cannot be revealed among the three women, who rigidly stare straight ahead. The next features a sympathetic woman they might identify with: an older white woman in an ordinary scene. Social security will be at risk under X, she explains. She finishes her argument with a risqué turn of speech: he will give the middle finger to the middle class. The three women’s basic livelihood appears at risk, after the legitimacy crisis. The third ad feature a younger women who claims the federal government, under Y, will pay for gender reassignment care. She is a mother and there is an imagined threat to her obligation to care for her child in the way she believes. The first two messages attack certainty in order to draw out and question a core belief. The last preserves a core belief by promoting an untenable fantasy. At the bottom of the dream is a nonexistent object that the three messages attempt to disclose. How much of the disclosure itself—seeing the ad content as analogous to a dream on waking—can be retained on waking; what does the erosion of memory mean for the core belief? In two cases the core belief is unsettled; in the latter, it is preserved as inaccessible fantasy, what people may think but will not admit to, the basis for a turn to fascism in a democracy. My reading of Les Vases communicants extends, of necessity, from 1932 to this scene.

“The Best People,” Harris campaign ad: view here
“Kamala Is for They/Them. I am for you” ad: view here

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November 23, 2024

Document 106: Various Devices!

FOR IMMEDIATE RELEASE! 

VARIOUS DEVICES:
SELECTED WRITINGS

BY CARLA HARRYMAN

MOSCOW: POLYPHEM, 2024

[for Russian text, click here]

Polyphem, an independent press in Moscow, announces publication of a comprehensive, bilingual edition of the writings of Carla Harryman.

The works, chosen by editor Vladimir Feshchenko, represent the full range of her pioneering genre-disrupting, performative texts—from Percentage (1979) and Under the Bridge (1980) to Cloud Cantata (2020) and Scales for the Living (2023).

Also featured are the complete scripts of her germinal works for San Francisco Poets Theater: “Third Man” (1978); “There Is Nothing Better Than a Theory” (1984); and “Memory Play” (1994).

Excerpts from her dystopian novel Gardener of Stars (2001) and the ludic hybrid text Baby (2005) are included, along with selections from her erotic picaresque, co-authored with Lyn Hejinian, The Wide Road (2011).  … More

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November 22, 2024

Document 105: Not This!

FOR IMMEDIATE RELEASE! 

NOT THIS: SELECTED WRITINGS
BY BARRETT WATTEN

MOSCOW: POLYPHEM, 2024

[for Russian text, click here]

Polyphem, an independent press in Moscow, has announced publication of a comprehensive, bilingual edition of the writings of Barrett Watten.

The works, chosen by editor Vladimir Feshchenko, extend from his first collection (Opera—Works, 1975) to the unpublished “Notzeit,” written during COVID (2020).

The selection represents the author’s “turn to language” in the 1970s, his development of hybrid genres and longer forms, and his critique of distorted social communication. … More

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November 16, 2024

Entry 63: Communicating Vessels I

Surrealism in Paris
October 2024

Surrealism, as many of us had conceived of it for years, should not be considered as extant except in the a priori nonspecialization of its effort. I hope it will be considered as having tried nothing better than to cast a conduction wire between the far too distant worlds of waking and sleep, exterior and interior reality, reason and madness, the assurance of knowledge and of love, of life for life and the revolution, and so on. —André Breton, Les Vases communicants (1932; English trans. 1990)

In the spirit of a thought experiment, I offer my time spent in Paris attending the International Society for the Study of Surrealism (ISSS) conference on Surrealism, one week before the American election, as charged with the co-presence of dream and reality. The first reality was Paris itself as elective site of a transformative moment—the 100th anniversary of the First Manifesto of Surrealism. Being in Paris at that time, as it condenses all time passing between that moment and the present, had the feeling of co-presence of many moments all aware of each other and on the same level though not directly in contact. The crowds going about their business under a gray sky, during a school holiday where there was some release of tension and many children and families on the street, were not in direct contact with us streaming in cab or Uber to specific destinations, for instance the conference venue at American University Paris (AUP). Those presenting in multiple rooms, with visual aids and in three languages, were not aware of the cabs or Ubers picking passengers up and dropping them off. Just so, the meticulously curated book display of surrealism was not aware of the content delivered above. The array of editions, including many facsimiles of original texts, had a remote and uncanny feeling, as with the difference between books being opened and closed. The conference, as site for special knowledge (of “specialists in revolt”), was removed from the “nonspecialization” of lifeworld unaware of it outside. … More

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October 4, 2024

Entry 62: The One Great Story

Remarks on Jameson and Narrative

Under any house is a basement of psychological dimensions, a surplus affective space. And as I read The Political Unconscious into the night, a sump pump in the basement would go on and off, shunting gallons of water out of its perpetual flood. An editor asked me for a theory of such drainage in the form of a critical review, which I refused as not entirely serious. —”Foxes,” Bad History, 60

The year is 1981. Carla Harryman and I are living in a working-class bungalow on Hampshire Street in San Francisco’s Mission District, competing with raccoon families and occasional gunshots to establish a relationship in an indeterminate time. Ronald Reagan has been elected, while the alternative arts are forging ahead on multiple agendas. Poets Theater is in full swing, with a character called “Jameson” in Kit Robinson’s play, as I discussed previously. Jameson has entered the Language and New Narrative debates and given his talk at 80 Langton Street, siding with Narrative while symptomatizing Language, but also has now published The Political Unconscious, a watershed work that would have long-term impact on questions of narrative and form. Jameson’s “questions of interpretation,” bringing together form and history, would anchor a more expansive, contextual methodology not confined to surface language—bypassing precisely the critique of Language’s dissociation of sensibility in the postmodern. The “turn to history” via poetic form begins right here. … More

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September 29, 2024

Entry 61: History Is What Hurts

Remarks on Jameson and Language

The media, for once, are getting it right: with the announcement of Fredric Jameson’s passing on September 22, one often sees a likeable photo of an engaged, outer-directed, smiling and welcoming, if prodigious and awe-inspiring scholar and critic in early or late days of his notable life and career. There is something of the Peaceable Kingdom in the intellectual devotion and worldly accomplishments evoked: “For Fredric Jameson, Marxist Criticism Was a Labor of Love,” per The New York Times. While Critical Theory, in both nature and practice, accentuates the negative, Late Jameson presents a beneficent gaze that is rarely encountered—especially with Marxists. The Grand Narrative of Progress Toward a Better Life seems activated by his very presence, a moment of positivity restored at the moment of loss. … More

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