In her article, "Canadian Feminist Writing and American Poetry," Eugenia Sojka explores contemporary English-Canadian feminist avant-garde and language-focused writing and its intertextual linkages with American Language Poets. Texts of English-Canadian feminist writers such as Lola Lemire Tostevin, Daphne Marlatt, Betsy Warland, Erin Mouré, and Gail Scott are read with reference to ideas and hniques inscribed in the writing of Ron Silliman, Charles Berstein, Susan Howe, Lyn Hejinian, and Carla Harryman. Sojka focuses first on the socio-historical dimension of the writing and proceeds to the exploration of several discourses inscribed in the texts of writers associated with both groups. Their texts return to the politics and aesthetics of the historical avant-garde and reincarnate the spirit of carnival. They re-read earlier female avant-gardes, carnivalize monologic concepts of language and writing, experiment with the "new sentence" and interartistic projects, and carnivalize the traditional concept of the genre. While Canadian writers engage in the re-reading of American feminist avant-garde, their focus is on the Canadian socio-historical and political situation. What distinguishes Canadian language writing from other international avant-gardes is their intertextual dialogue with Québécois-Canadian feminist writers and the intense work on language closely linked with the complex and problematic nature of Canadian identity in a post-national and globalized world.

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