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JESSICA LEWIS LUCK iterary criticism has recently taken a phenomenological turn, with scholars in many different periods and genres showing an increased interest in complex descriptions of the various bodily experiences of engaging with 1 texts. So far, this scholarship has applied the methods and theories of phenomenology to the reader's experience more than to the writer's, and it has focused particularly on emotion and affect, a significant but no doubt limited slice of the full range of embodied cognition and experience. Furthermore, these critics have often assumed a normalized body at the center of their phenomenology, one unhampered by disability, prosthesis, or disease. This essay expands the phenomenological approach in all of these sites, considering how the lived, embodied experience of a particular disabled writer creatively constrained and enabled his poetics. Thus I am following Michael Davidson's call for a disability poetics that theorizes "the ways that poetry defamiliarizes not only language but the body normalized within language" and that reads the embodied poetics of mid-century writers against their actual bodies (7, 8). I shall take Davidson's methodology one step further, exploring how that disability poetics becomes for the reader a kind of defamiliarizing prosthesis that enables
Contemporary Literature – University of Wisconsin Press
Published: Nov 13, 2012
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