Abstract
This introductory chapter maps some major themes of the collection, tracing dialogues across chapters, and offering some basic context and definitions. After a few preliminaries, it explores Peter Middleton’s chapter, “Show Your Working,” and considers some different types of labour—or different overlapping ways of thinking about labour—such as reproductive labour, identity labour, affective labour, and aesthetic labour. These terms derive from feminist theorisation of work. The section after situates Lisa Jeschke’s chapter, “Bird-Song by Everyone, for Everyone!: Poetry, Work and Play in J. H. Prynne’s Prose” within the context of Marxist ideas about work and especially about alienation. The following sections then introduce the rest of the collection through thematic lenses including craftwork; publics and the work of activists and citizens; corporeality and transcorporeality; performativity and memory; and precarity, platformization, and postwork discourse.
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Notes
- 1.
Throughout the collection, the words work and labour are for the most part used interchangeably. However, many theorists do draw some distinction or other. For instance, sometimes labour is a large and inclusive category, whereas work is paid or otherwise formalised labour. That distinction more-or-less aligns with the Marxist tendency to treat labour as human creative power which is exploited and alienated by capital as work. Hannah Arendt divides things somewhat differently, with labour referring to the perpetual and necessary work of biological sustenance, associated with the animal laborans, beast of burden, or slave, and work referring to the artificing of a common world, associated with the maker, or homo faber; for Arendt, even work is still bound up with instrumentality, and is not the realm of true human freedom; that is political life, for which she distinguishes a third term, action. See also the opening of Lytton Smith’s chapter in this collection.
- 2.
George Oppen, Of Being Numerous (1968) in New Collected Poems (New York: New Directions, 2008), 170.
- 3.
Karen Brodine, Illegal Assembly (Brooklyn: Hanging Loose Press, 1980), 37–38.
- 4.
Harryette Mullen, Recyclopedia (Minneapolis, MN: Graywolf Press, 2006), 65.
- 5.
Veronica Forrest-Thomson, On the Periphery (1976) in Collected Poems (Bristol: Shearsman, 2008), 134.
- 6.
Andrea Brady, Wildfire: A Verse Essay on Obscurity and Illumination (San Francisco: Krupskaya, 2010), 15.
- 7.
Gamification: the use of techniques and elements such as points, badges, leaderboards, to organise action in non-game contexts.
- 8.
International Labour Organization and Walk Free Foundation, “Global Estimates of Modern Slavery: Forced Labour and Forced Marriage” (Geneva, 2017). The 2017 estimated figure of 40.3 million people in slavery breaks down as 15.4 million in forced marriage, 4.8 million in forced sexual exploitation, 4.1 million in state-imposed labour (including prison labour which does not meet ILO standards), and 24.9 million in other forms of forced labour (including domestic work, construction, manufacturing, agriculture/fishing, and other kinds of work).
- 9.
Jane Commane, “Ideas Above Your Station: Eight Thoughts on Writing the Working Life,” in Magma No. 74 (Summer 2019), ed. Benedict Newbery and Pauline Sewards, 20.
- 10.
Peter Middleton, “‘Show Your Working’: Other Forms of Labour in Recent Poetry,” q.v.
- 11.
Just ranging across some uses of the word work conveys the concept’s versatility. You work in an office. Or you are working from home. Or you work on the assembly line. Or you work for Bob. Or you work on a poem. Or you work on a new idea. You work all the time. You’re working even when you’re not working. You’re out of work. You are worked up. You are working off whatever you did to hurt your friend, but you wish you could work out what it was. The two of you really need to work on your communication. You are working your way through those biscuits. You made quick work of them. You are working on the assumption that the bar is this way. You are working on your body positivity. You are working on your tan. You are working on your masterpiece. You are working on your imposter syndrome. You are working the room. You are working your ticket. You are working your way through the amusement park rides. You are on the dancefloor working your butt. You are at work working your butt off. You worked out what it is you love about her so much. You’ve had some work done. This is Moriarty’s work! You aren’t the person you want to be but you’re working on it. Your splinter will work its way out. You are working through Season Six now. You are working on your wellbeing. You are working on your relationship. You don’t think this is working anymore. You are working through the day in your dreams. Teamwork makes the dream work. You have back pain and you can’t sleep—is what you’re doing work? The popular or folk-theoretic understandings of work, as expressed in everyday idiomatic language, form a useful complement to the various theoretical taxonomies presented here.
- 12.
“A VVomans VVork is never done / Here is a Song for Maids to sing, / Both in the Winter and the Spring; / It is such a pretty conceited thing, / Which will much pleasure to them bring. / Maids may sit still, go, or run, / But a Womans work is never done” (London: Printed for John Andrews, at the White Lion in Pye-Corner, [c.1654]).
- 13.
Charlotte Perkins Gilman, Women and Economics: A Study of the Economic Relation Between Men and Women as a Factor in Social Evolution (Berkeley: University of California Press, 1998 [1898]), ark.cdlib.org/ark:/13030/ft896nb5rd/, accessed 15 October 2018.
- 14.
Charlotte Perkins Gilman, Herland (New York: Pantheon Books, 1979 [1915]).
- 15.
While reproductive labour and productive labour are distinguished, they are also combined: the concept of reproductive labour is intended to widen thinking about what counts as production.
- 16.
Mariarosa Dalla Costa, “Women and the Subversion of the Community,” in Mariarosa Dalla Costa and Selma James, The Power of Women and the Subversion of the Community (Falling Wall Press and a group of individuals from the Women’s Movement in England and Italy, 1975 [1972]) 33–34.
- 17.
Robin Leidner, Fast Food, Fast Talk: Service Work and the Routinization of Everyday Life (Berkeley: University of California Press, 1993), 194.
- 18.
Dalla Costa, “Women and the Subversion of the Community,” 47–48.
- 19.
Jose-Luis Moctezuma, “‘What Gives Pause or Impetus’: The Double Bind of Labor in Rodrigo Toscano’s Poetics,” q.v.
- 20.
See Stephen Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare (Chicago: University of Chicago Press, 1980). Another somewhat relevant term might be Hannah Arendt’s category of action, “the only activity that goes on directly between men without the intermediary of things or matter.” Arendt distinguishes action from other kinds of activity which do not allow people to disclose who they are (in her taxonomy labelled work and labour, which have loose affinities with productive labour and reproductive labour respectively). The Human Condition (Chicago: University of Chicago Press, 1958), 7.
- 21.
Toni Morrison, “Public Dialogue on the American Dream, Part 2” (1975), pdxscholar.library.pdx.edu/orspeakers/90/, accessed 5 June 2018.
- 22.
Middleton also develops the term intersubjective labour, which in his useage gathers a positive nuance: intersubjective labour “acts in and through a relationship with another person in which one person works on the mind and feelings of another to help the development of the recipient in some way.” Peter Middleton, “‘Show Your Working’: Other Forms of Labour in Recent Poetry,” q.v.
- 23.
Charles T. Lee, Ingenious Citizenship: Recrafting Democracy for Social Change (Durham: Duke University Press, 2016), 6.
- 24.
For example, for Phoebe V. Moore, “emotional labour is the visible production of affective labour. It can be as the correspondence between body and mind that is not instantly knowable in the way that emotion and affections may be.” Phoebe V. Moore, The Quantified Self in Precarity: Work, Technology and What Counts (London and New York: Routledge, 2017). Although authors often make clear and useful distinctions between emotion and affect —involving axes such as conscious/pre-conscious, apodictic/falsifiable, social/idiosyncratic, structured/formless, intersubjective/subjective—we haven’t been able to find enough consistency in these distinctions to offer a reliable amalgamation. In this introduction affective labour and emotional labour get used interchangeably.
- 25.
Arlie Russell Hochschild, The Managed Heart: Commercialization of Human Feeling (Berkeley and Los Angeles: University of California Press, 2003 [1983]), 7–8.
- 26.
Alison Winch, “Brand Intimacy, Female Friendship and Digital Surveillance Networks,” New Formations: A Journal of Culture/Theory/Politics, vol. 84 (2015), 233. muse.jhu.edu/article/597741. Elias, Gill, and Scharff frame the politics of beauty as having been stuck in “an impasse between polarised positions, stressing—for example—oppression by beauty norms versus pleasure and playfulness, female agency versus cultural domination, entrenched suspicion of the beauty-industrial complex versus hopefulness about women’s capacity to resist” (loc. 437). Their work hopes to budge this impasse by connecting the politics of beauty more explicitly with affective and other forms of labour, as well as a renewed focus on subjectivity and on specifically neoliberal configurations of the politics of beauty. Ana Sofia Elias, Rosalind Gill, and Christina Scharff, “Introduction,” in Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism (London: Palgrave Macmillan, 2017).
- 27.
Elias, Gill, and Scharff, “Introduction,” in Aesthetic Labour, loc. 437–439.
- 28.
In Karl Marx’s analysis, capital coerces people into lending an increasingly large part of their very being to someone else. Our labour produces surplus value for those who own the means of production. Simply put, surplus value means that the sheer quantity of value that the worker produces is larger than the remuneration they receive in the form of wages. What this means is that society is fundamentally constructed around an economic principle that benefits a small number of property owners at the expense of the significantly larger amount of unpropertied workers, as well as domestic workers, or those excluded from work. Labouring in general, for the vast majority of people, is a situation in which their freedom is curtailed.
- 29.
Jeschke’s point might also be supported, for instance, by a glance into the sociology of leisure. In an influential 1962 article Harold Wilensky distinguishes two major ideas about how work shapes leisure : the compensatory hypothesis where leisure routines become “an explosive compensation for the deadening rhythms of factory life” and the spillover hypothesis where “alienation from work becomes alienation from life […] ‘killing time’ at work can become ‘killing time’ in leisure, apathy in workplace can become apathy in politics.” Harold Wilensky, “Labor and Leisure: Intellectual Traditions Industrial Relations,” A Journal of Economy and Society, vol. 1, no. 2 (February 1962), 3–4. Silvia Federici, in her 1975 essay “Why Sexuality is Work ,” writes about “what comes out when we ‘let go’ is more often our repressed frustration and violence than our hidden self ready to be reborn in bed. […] Among other things, we are always aware of the falseness of this spontaneity. No matter how many screams, sighs, and erotic exercises we make in bed, we know that it is a parenthesis and tomorrow both of us will be back in our civilized clothes (we will have coffee together as we get ready for work).” Silvia Federici, “Why Sexuality is Work” (1975) in Silvia Federici, Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle (Brooklyn: Common Notions, 2012), 23–24.
- 30.
Holly Pester, “Distributed and Entangled Posture in Cathy Wagner’s My New Job and Nervous Device,” q.v.
- 31.
Pester, “Distributed and Entangled Posture,” q.v.
- 32.
Or even perhaps a contradiction, a balancing act whose high wire has a span of less than zero.
- 33.
Endnotes, “Error,” in Bad Feelings, ed. Arts Against Cuts (London: 2016), n.p. Perhaps non-capitalist work may even be found ‘within,’ or intimately alongside, capitalist extraction; cf. Nat Raha’s chapter in this collection, which picks up on Matthew Tinkcom’s theorisation of camp labour, the traces of queer subjectivity—including queer knowledge of capital—that may take refuge in the superficial homogeneity of the commodity form.
- 34.
Ed Luker’s translation. Karl Marx, Grundrisse, in Ökonomische Manuskripte 1857/58, Teil 2 [MEGA: BAND 1] (Berlin: Dietz Verlag, 1981), 499.
- 35.
Andrew McAllister and Sean Figgis, “Basil Bunting: The Last Interview [1984],” Bete Noire, vol. 2, no. 3 (1987), 127. Catherine Wagner’s reflective chapter, “The Exploit,” does complicate the truism that poetry doesn’t pay at all, with a nuanced account of working as a salaried poet and creative writing academic. To commodify oneself as a poet within a mixed marketplace of social, cultural, and educational capital may be difficult, unpleasant, ethically problematic, and suffocating of poetic practice, but it is not categorically impossible.
- 36.
A few recent statistics may be helpful context. Most people in the world are employed in some sense. The International Labour Office estimates that there are a little under 200 million unemployed people globally, an unemployment rate of around 5.5%. Many of those who are employed are nevertheless impoverished in terms of their local surroundings as well as the global context. Of workers in the emerging countries category, about 8% live on less than $1.90 a day. The ILO defines this as extreme working poverty. That estimate is based on purchasing power, rather than exchange rates; it also includes the strange assumption that each household shares its income equally. In the developing countries category, about 40% of workers are in extreme poverty. The next tier up, moderate working poverty ($1.90–$3.10 per day) is experienced by about 430 million workers in developing and emerging countries. Marx’s argument, of course, is not just about empirical economic inequality: his critique is aimed at oppressive power relations, at the wrong of extracting surplus value, and at the alienations experienced by workers.
- 37.
Karl Marx, Critique of the Gotha Programme (1999 [1875]), www.marxists.org/archive/marx/works/1875/gotha/ch01.htm, accessed 5 June 2018, n.p.
- 38.
Karl Marx, Theories of Surplus Value (1863), www.marxists.org/archive/marx/works/1863/theories-surplus-value/ch04.htm, accessed 5 June 2018, n.p.
- 39.
Another term worth mentioning here, which offers ways of linking the critique of alienation with that of surplus value extraction, is oppression . As Abigail B. Bakan writes: “Both oppressor and oppressed suffer alienation, but the condition of oppression ensures that they do not experience their alienation as a common human condition. Rather, the experience of the alienation of the oppressor and the alienation of the oppressed is reinforced, codified, rendered ‘rational,’ and reified, as if to constitute a permanent condition of separation and distance.” “Marxism and Anti-Racism : Rethinking the Politics of Difference,” in Theorizing Anti-Racism: Linkages in Marxism and Critical Race Theories (Toronto: University of Toronto Press, 2014), loc. 2457–2460.
- 40.
Economic and Philosophical Manuscripts of 1844, translation 1932 by Martin Mulligan. MEA, 2009 [1844], www.marxists.org/archive/marx/works/1844/manuscripts/preface.htm, accessed 5 June 2018.
- 41.
Theodor Adorno, “On Lyric Poetry and Society,” in Notes to Literature Volume One, ed. Rolf Tiedemann (New York: Columbia University Press, 1991), 45.
- 42.
Karl Marx, “Comments on James Mill” (1844), trans. Clemens Dutt, in Collected Works, www.marxists.org/archive/marx/works/1844/james-mill/, accessed 5 June 2018, n.p.
- 43.
Jean-Jacques Rousseau, On the Social Contract (Mineola: Dover Thrift, 2003 [1762]), 11.
- 44.
Marx, “Comments on James Mill,” 1844.
- 45.
“I would have been for you the mediator between you and the species, and therefore would become recognised and felt by you yourself as a completion of your own essential nature and as a necessary part of yourself, and consequently would know myself to be confirmed both in your thought and your love. […] In the individual expression of my life I would have directly created your expression of your life, and therefore in my individual activity I would have directly confirmed and realised my true nature, my human nature, my communal nature.” Marx , “Comments on James Mill,” (1844).
- 46.
Kant understands this as being generated in the interplay of different powers without which mental reality would be completely impossible.
- 47.
Max Weber, The Sociology of Religion (1920), translated 1963 by Ephraim Fischoff (London: Methuen, 1971), 270.
- 48.
There is a narrow view of poetic craft , manifest in formally conservative lyric free verse that is carefully polished through workshopping. Well-crafted poetry in this narrow sense is often especially vigilant against cliché, bathos, and catachresis. It is often organised around the virtues of succinctness and plainspokenness, livened up a bit by precise musicality, by moderately interesting imagery, by temperate estrangements, and by usually well-demarcated ambiguities or points to ponder.
- 49.
Fordism also has a variety of secondary associations, such as the pursuit of economies of scope (cost savings gained by producing certain related products) and economies of scale (per unit cost savings gained by producing in greater bulk), and a paternalistic attitude to workers (manifest in the de-skilling of work, the guarantee of relatively high wages—at least while times were good—and the suppression of unions). More generally, it signifies the wide penumbra of state and civil society institutions characteristic of rich countries during the forties, fifties and sixties. Introducing his discussion of Lyn Hejinian in this collection, Peter Middleton uses the term slightly more broadly: signifying a range of possible alienating and objectifying modes of production, distinguished from ‘intersubjective’ labour.
- 50.
Some of the more important developments may include the extension of the commodification of women’s labour; the expansion and deregulation of financial markets; the shrinkage of welfare states; the erosion of worker rights; the intensification of precarity; the decline of manufacturing sectors; the growth in service jobs, with ‘service’ being very broadly understood to include clerical, administrative, managerial, retail, marketing, sales, accounting, legal, etc.; the emergence of ‘just-in-time’ or ‘lean’ manufacturing methods aimed at keeping inventories low and thus having implications for economies of scope and scale (see previous footnote); the more extensive monitoring and responsivity to consumer markets; the emergence of new techniques for targeting and shaping consumer markets; and the growing significance of information technology.
- 51.
Computer-generated poetry might be one exception. Furthermore, the production of a novel might involve, for example, a first draft of 50,000 words written during National Novel Writing Month (NaNoWriMo) through meeting daily word targets, supported by a website that awards badges upon meeting milestones, and informal support and rivalry from fellow NaNoWriMo participants, followed by the purchase of several phases of specialised editorial services, and a mixture of paid and unpaid consultation and focus grouping with beta readers, sensitivity readers, and subject specialists. The relationship between handicraft and poetry might also be a complicated one as demonstrated, for example, by the use of work-songs and chants to regularise and measure out labour. Fiona McNeil gives the example of early modern bonelacemaking: “Lacemakers used work songs not only to keep count of the pins as they put them into the pillow, but also to maintain the rapid pace of their work without making mistakes. Their chants were knows as ‘tells,’ from the word ‘tally,’ meaning ‘to count.’” “Free and Bound Maids: Women’s Work Songs and Industrial Change in the Age of Shakespeare,” in Oral Traditions and Gender in Early Modern Literary Texts, ed. Mary Ellen Lamb and Karen Bamford (London and New York: Routledge, 2016), 102.
- 52.
Richard Sennett, The Craftsman (New Haven and London: Yale University Press, 2008), 10.
- 53.
Mihaly Csikszentmihalyi, Flow: The Psychology of Optimal Experience (New York: Harper & Row, 1990).
- 54.
We might compare Jose-Luis Moctezuma’s comment on “labor at its finest or highest intensity” in his chapter on Rodrigo Toscano. “For instance, the self-regulating or automatic machine, well-built or well-trained, organic or inorganic, seems to function seamlessly once inserted into the site of operations: this might describe labor at its finest or highest intensity.”
- 55.
Michael Warner, “Publics and Counterpublics,” Public Culture, vol. 14, no. 1 (2002), 50.
- 56.
Sennett, The Craftsman, 10.
- 57.
Sennett, The Craftsman, 10.
- 58.
Susan Stewart, Poetry and the Fate of the Senses (Chicago and London: University of Chicago Press, 2002), 162.
- 59.
Karl Marx and Frederick Engels, Collected Works, Vol. 34 (Electronic Book: Lawrence and Wishart, 2010), 136.
- 60.
Fred Moten, “Blackness and Poetry,” in Evening Will Come 55 (1 July 2015), arcade.stanford.edu/content/blackness-and-poetry-0, accessed 3 June 2018, n.p.
- 61.
In In The Break: The Aesthetics of the Black Radical Tradition, Moten writes that “the specific conditions of the possibility modernity […] [are] namely, European colonialism […] and chattel slavery.” Fred Moten, In The Break: The Aesthetic of the Black Radical Tradition (Minneapolis: University of Minnesota Press, 2003), 32.
- 62.
Moten, “Blackness and Poetry,” n.p.
- 63.
Anthony Ashley Cooper, Earl of Shaftesbury, “Sensus Communis: An Essay on the Freedom of Wit and Humour – in a letter to a friend” (1709) in Anthony Ashley Cooper, Earl of Shaftesbury, Characteristics of Men, Manners, Opinions, Times, Vol. 1 (Indianapolis: Liberty Fund, 2001 [1737]), 64.
- 64.
Nancy Fraser, “Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy,” in Habermas and the Public Sphere, ed. Craig Calhoun (Cambridge: MIT Press, 1992), 122–123.
- 65.
Warner, “Publics and Counterpublics,” 81.
- 66.
Warner, “Publics and Counterpublics,” 88.
- 67.
Jose-Luis Moctezuma, “‘What Gives Pause or Impetus’: The Double Bind of Labor in Rodrigo Toscano’s Poetics,” q.v.
- 68.
Moctezuma, “‘What Gives Pause or Impetus,’” q.v.
- 69.
Asef Bayat, Life as Politics: How Ordinary People Change the Middle East, 2nd ed. (Stanford: Stanford University Press, 2013 [2010]), 15.
- 70.
Occupation may mean a profession, livelihood, or task, and/or some kind of politicised seizure of place: ‘occupying’ in this second sense is also something done by both armies and peace activists. The word is given further theoretical valence by Gilles Deleuze’s “Boulez, Proust, and Time , ‘Occupying Without Counting,’” which first appeared in French in 1986. This brief, intricate essay takes as its starting point questions of influence—specifically the composer Pierre Boulez’s ‘occupation’ of Marcel Proust—to explore a dialectic between “blocks of duration” (striated, pulsed space-time, defined by “divisibilities, commensurabilities, and proportionalities”) and “time bubbles” (smooth, non-pulsed space-time of “undecomposable distances and proximities”). Gilles Deleuze, “Boulez, Proust, and Time: ‘Occupying Without Counting,’” translated and introduced by Timothy S. Murphy, Angelaki: Journal of the Theoretical Humanities, vol. 3, no. 2 (1998), 71. In Rick Dolphijn’s account, “the occupation is not directed towards a presence but is equally interested in those things that are not there (yet).” Rick Dolphijn, “The Revelation of a World That was Always Already There: The Creative Act as an Occupation,” in This Deleuzian Century: Art, Activism, Life, ed. Rosi Braidotti and Rick Dolphijn (Leiden and Boston: Brill and Rodopi, 2014), 191.
- 71.
Warner, “Publics and Counterpublics,” 52.
- 72.
This is not to imply of course that your job actually was sustaining you.
- 73.
José E. Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009). Lauren Berlant and Michael Warner, “Sex in Public,” Critical Inquiry, vol. 24, no. 2 (1998), 547–566.
- 74.
Muñoz, Cruising Utopia, 1.
- 75.
Lytton Smith, “‘Because We Love Wrong’: Citizenship and Labour in Alena Hairston’s The Logan Topographies,” q.v.
- 76.
Chris Green, “Reviewed Work: The Logan Topographies: Poems by Alena Hairston,” Journal of Appalachian Studies, vol. 13, no. 1/2 (Spring/Fall, 2007), 255.
- 77.
Smith, “‘Because We Love Wrong,” q.v.
- 78.
Cf. e.g. Kimberlé Crenshaw, “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics,” University of Chicago Legal Forum, no. 1 (1998).
- 79.
Jayne Cortez, On the Imperial Highway: New and Selected Poems (Hanging Loose Press, 2009).
- 80.
Edward Kamau Brathwaite’s poem sequence X/Self (London: Oxford University Press, 1987), 5.
- 81.
“Mont Blanc” is later retitled “The Sahell of Donatello.”
- 82.
In “Mont Blanc: Lines Written in the Vales of Chamouni” (1817), Shelley addresses the mountain: “Thou hast a voice, great Mountain, to repeal / Large codes of fraud and woe; not understood / By all, but which the wise, and great, and good / Interpret, or make felt, or deeply feel.”
- 83.
We’re using the term hyperobject somewhat loosely. It comes from Timothy Morton, who identifies global warming as one hyperobject to watch; in Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis: University of Minnesota Press, 2013) he characterises these vast, distributed ‘objects’ by their viscosity, nonlocality, temporal undulation, phasing, and interobjectivity.
- 84.
Randall Robinson, The Debt: What America Owes to Blacks (New York: Penguin, 2000), 206.
- 85.
Aimée Lê, “Without the Text at Hand: Postcolonial Writing and the Work of Memorisation,” q.v.
- 86.
For example, in her reading of M. NourbeSe Philip’s Zong! (2008), Lê argues that the poem on the page can be read as a script intended for a variegated and instantaneously differential set of performances; each vocalisation of this script would be a different historical intervention into the record and materials that Philip’s book explores. In the process of composing the work Philip was working with a set of self-imposed restrictions, and Lê describes this script, and the labour of inscription, as a double form of bondage for Philip. The poet is attentive to histories of Black suffering and thinks about how to make visible the submerged and lost voices of history from the documents of brutality which are their only record (in this case the insurance papers of the slave ship ‘Zong’ from which 133 African slaves were thrown overboard to drown in 1781).
- 87.
Lê, “Without the Text at Hand,” q.v.
- 88.
McKenzie Wark, Molecular Red: Theory for the Anthropocene (London: Verso, 2015), loc. 159–162.
- 89.
Patricia Hill Collins, Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment (Boston: Unwin Hyman, 1990), 221–238
- 90.
Pester, “Distributed and Entangled Posture,” q.v.
- 91.
Pester, “Distributed and Entangled Posture,” q.v.
- 92.
Pester, “Distributed and Entangled Posture,” q.v.
- 93.
Pester, “Distributed and Entangled Posture,” q.v.
- 94.
Walter Benjamin, Understanding Brecht, trans. Anna Bostock (London: NLB, 1973), 4.
- 95.
Pester, “Distributed and Entangled Posture,” q.v.
- 96.
Pester, “Distributed and Entangled Posture,” q.v.
- 97.
Pester, “Distributed and Entangled Posture,” q.v.
- 98.
Jackie Wang, Carceral Capitalism (South Pasadena, CA: Semiotext(e), 2018), 358.
- 99.
Wang, Carceral Capitalism, 307.
- 100.
Eleanor Careless, “Work in the Poetry and Prison Correspondence of Anna Mendelssohn,” q.v.
- 101.
Careless, “Work in the Poetry and Prison Correspondence of Anna Mendelssohn,” q.v.
- 102.
Giorgio Agamben, The Time That Remains: A Commentary on the Letter to the Romans (Stanford, CA: Stanford University Press, 2005), 79.
- 103.
Agamben, The Time That Remains, 79.
- 104.
Careless, “Work in the Poetry and Prison Correspondence of Anna Mendelssohn,” q.v.
- 105.
Pester, “Distributed and Entangled Posture,” q.v.
- 106.
Joshua Clover, “Unfree Verse,” Poetry Foundation Blog, 15 April 2016, www.poetryfoundation.org/harriet/2016/04/unfree-verse, accessed 1 June 2018, n.p.
- 107.
See the section on “Platforms, Precarity, Pointlessness, and Postwork” in this introduction.
- 108.
Ben Lerner, Hatred of Poetry (London: Fitzcarraldo Editions, 2016), 86.
- 109.
For example, such distinctions help us to make sense of our own experience; to shine light on experience and events that might be otherwise shoved into the shadows; to evolve our discursive practices to accommodate ongoing ecological and technological transformation; to de-naturalise the division of labour which patriarchal capitalism confronts us with; and of course to place poetry somewhere within all this.
- 110.
Amber DiPietra, “Extract from the Poetic Labor Project,” q.v.
- 111.
David Graeber, “Are You in a BS Job? In Academe, You’re Hardly Alone,” 6 May 2018, The Chronicle of Higher Education, www.chronicle.com/article/Are-You-in-a-BS-Job-In/243318, accessed 5 June 2018.
- 112.
Cathy Wagner, “The Exploit: Affective Labor and Poetry at the University,” q.v.
- 113.
Cathy Wagner, “The Exploit: Affective Labor and Poetry at the University,” q.v.
- 114.
Tyrone Williams, “Floating On—if not Up—ward,” q.v.
- 115.
David Graeber, Debt: The First 5,000 Years (Brooklyn: Melville House, 2011), loc. 2710–2711.
- 116.
William Shakespeare, The Complete Works of William Shakespeare, ed. W. J. Craig (London: Oxford University Press, 1943), 412.
- 117.
Opportunity cost asks us to specify what someone would have done, had they not done what they did. But from a narrative perspective, this may threaten to begin an endless fractal line of enquiry: what would the opportunity cost have been, were it not the opportunity cost that it is?
- 118.
Williams, “Floating On—if not Up—ward,” q.v.
- 119.
Karen Gregory, “Karen Gregory Talks About the Negatives and Positives of Computer Platform Capitalism,” RadioLabour, 2 November 2017, congress.world-psi.org/karen-gregory-talks-about-the-negatives-and-positives-of-computer-platform-capitalism, accessed 5 June 2018.
- 120.
Rosalind Gill and Andy Pratt, “Precarity and Cultural Work in the Social Factory? Immaterial Labour, Precariousness and Cultural Work.” Andrew Spragg invokes Gill and Pratt as part of a critique of J. T. Welsch’s conciliatory engagement with ‘the occupational turn.’ In a 2018 article, Welsch identifies an atmosphere of greater openness, within UK poetry communities, to the language and ideology of business and marketing. Welsch entertains the idea that scorn for such ‘professionalisation’ has functioned in the past as a gatekeeping practice. He suggests “we might come to view poetry’s occupational turn as less a threat to creative integrity than a reflection of the need to widen its opportunities.” However, he does remain uneasy with the business-entrepreneurial spirit in its raw form, and suggests that some reimagining will be necessary to complete the occupational turn: “In a relatively short period, we have gone from [Salt co-director Chris Hamilton-Emery’s] provocation that ‘the world of poetry can be a bear pit’ (and Salt’s subsequent retreat from poetry hustling) to [Jo Bell and Jane Commane’s] How to Be a Poet’s emphasis on ‘sharing your work with a wider community.’” J. T. Welsch, “Audit: The Promise of Professionalism,” 2018, poetrysociety.org.uk/audit-the-promise-of-professionalism-by-j-t-welsch, accessed 5 January 2019. By contrast, Spragg does not see much point in welcoming neoliberal rationality—with or without local customizations—into one of the few domains that has up till now proved a partial refuge against it. He briefly pulls Welsch up for dislocating poetry from its larger social and economic context, for forgetting poetry’s duty to hold power accountable and bear witness to suffering, and for fudging the issue of poetry’s commercial viability: though Welsch may go as far as saying that “Teaching people to write a cover letter, book proposal, or event budget […] needn’t be entirely disconnected from writing poems,” he sensibly stops short of claiming that there are any livelihoods in poetry, even for the most ruthless and innovative go-getter. Spragg and Welsch do both readily endorse creative and professional development initiatives for underrepresented groups, but Spragg adds that “one does not solve inequality by aggressively pursuing a form of self-exploitation, or embracing the language that enables it. We should be resisting at all points the professionalism of anything as gloriously unauditable as writing, embracing instead all its radical possibilities. Leave fame for the arseholes. The best way to be a writer in real life is to be in real life.” “Response: Andrew Spragg on J. T. Welsch’s ‘The Promise of Professionalism,’” 2018, poetrysociety.org.uk/response-andrew-spragg-on-j-t-welschs-the-promise-of-professionalism, accessed 5 January 2019. See also Alison Gerber, The Work of Art: Value in Creative Careers (Palo Alto, CA: Stanford University Press, 2017); Jo Bell and Jane Commane’s, How to Be a Poet: A Twenty-First Century Guide to Writing Well (Rugby: Nine Arches Press, 2017); Chris Hamilton-Emery, 101 Ways to Make a Poem Sell (Cromer: Salt, 2006).
- 121.
Karen Gregory, “Is the Public a ‘Market’?” Paper at Exploring Digital Publics symposium, Institute for Advanced Studies in the Humanities, Edinburgh. 1 June 2018.
- 122.
Brett Neilson and Ned Rossiter, “FCJ-022 From Precarity to Precariousness and Back Again: Labour, Life and Unstable Networks,” 2015, five.fibreculturejournal.org/fcj-022-from-precarity-to-precariousness-and-back-again-labour-life-and-unstable-networks/, accessed 5 June 2018.
- 123.
Kathi Weeks, The Problem with Work (Durham and London: Duke University Press), 228.
- 124.
See Algernon Sidney, Discourses Concerning Government, ed. Thomas G. West (Indianapolis: Liberty Fund, 1996 [1698]), 210. (The sentiment appears in works by Sophocles, Euripides, Aesop and others; Sidney’s wording seems to have been popularised by Benjamin Franklin’s 1736 Poor Richard’s Almanack).
- 125.
Micha Kaufman, “In Doers We Trust: From an Ideal to a Movement,” 9 January 2017, blog.fiverr.com/doers-trust-ideal-movement/, accessed 5 June 2018.
- 126.
One possible distinction between antiwork and postwork is that the former is about challenging the existing work ethic, and the latter is about looking beyond it to something that it would be unwise to fully plan in advance. Or we could even say: work is the thesis, antiwork the antithesis, and postwork the synthesis.
- 127.
David Graeber, Bullshit Jobs: A Theory (Allen Lane, 2018), 14.
- 128.
Or more specifically: “a bullshit job is a form of paid employment that is so completely pointless, unnecessary, or pernicious that even the employee cannot justify its existence even though, as part of the conditions of employment, the employee feels obliged to pretend that this is not the case.”
- 129.
Graeber, Bullshit Jobs, 11.
- 130.
“Bullshit jobs” in Will Rowe, Collected Poems (London and Barcelona: Crater, 2016), 21.
- 131.
Weeks, The Problem With Work, 229.
- 132.
“We are, as the existentialists liked to put it, condemned to be free, forced to wield the divine power of creation against our will, since most of us would really rather be naming the animals in Eden, dining on nectar and ambrosia at feasts on Mount Olympus, or watching cooked geese fly into our waiting gullets in the Land of Cockaygne, than having to cover ourselves with cuts and calluses to coax sustenance from the soil. […] Now, one could argue that this is simply in each case a poetic extrapolation of the two key aspects of what has become our common definition of work: first, that it is something no one would ordinarily wish to be doing for its own sake (hence, punishment); second, that we do it anyway to accomplish something beyond the work itself (hence, creation). But the fact that this ‘something beyond’ should be conceived as ‘creation’ is not self-evident. In fact, it’s somewhat odd. After all, most work can’t be said to ‘create’ anything; most of it is a matter of maintaining and rearranging things.” Graeber, Bullshit Jobs, 221.
- 133.
Weeks, The Problem With Work, 42.
- 134.
Weeks, The Problem With Work, 63.
- 135.
Graeber, Bullshit Jobs, xxiv–xxv.
- 136.
Weeks, The Problem With Work, 12.
- 137.
Weeks, The Problem With Work, 152.
- 138.
The Womansplainer, hellogiggles.com/lifestyle/womansplainer, accessed 15 April 2018.
- 139.
Nicole Cox and Silvia Federici, “Counter-Planning from the Kitchen,” in Counter-Planning from the Kitchen: Wages for Housework, a Perspective on Capital and the Left, ed. Nicole Cox and Silvia Federici (New York: New York Wages for Housework Committee and Falling Wall Press, 1975), 3.
- 140.
See the ‘folk politics’ touched on by Moctezuma in his chapter in this collection. “These critics often claim that making a demand means giving into the existing order of things by asking, and therefore legitimating, an authority. But these accounts miss the antagonism at the heart of making demands, and the ways in which they are essential for constituting an active agent of change.” Nick Srnicek and Alex Williams, Inventing the Future: Postcapitalism and a World Without Work (London: Verso, 2015), 107.
- 141.
Srnicek and Williams emphasize that legitimate UBI “must provide a sufficient amount of income to live on; it must be universal, provided to everyone unconditionally; and it must be a supplement to the welfare state rather than a replacement of it.” Inventing the Future, 119.
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Walton, J.L., Luker, E. (2019). Introduction: Working Late. In: Walton, J., Luker, E. (eds) Poetry and Work. Modern and Contemporary Poetry and Poetics. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-26125-2_1
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