Exile Vol. XL No. 2

38th Year Title Page by Carrie Horner \u2797 i Epigraph by Ezra Pound ii Table of Contents iii-iv Remembering Sundays by Allison Lemieux \u2795 1 Untitled by James Oliver \u2794 2 \u2778 Beige Chevy Malibu by Craig J. McDonough \u2794 3-4 Brushtown Road by Lelei Jennings \u2795 5 In Memoriam: River Phoenix, 1970-93 by Kirstin Rogers \u2794 6 Untitled by Kira Pollack \u2794 7 Checkmate by Kevin Nix \u2794 8 Anywhere in Ohio by Jen Hanysh \u2795 9 Untitled by Nicky Taylor \u2794 10 Under Your Influence by Katherine Anne Campo \u2794 11 Tulips by Tricia B. Swearingen \u2794 12 Untitled by Keith Chapman \u2795 12 December Storm by Erin Lott \u2796 13-19 On Meeting Phil Levine After a Reading at Denison University April 6, 1993 by Christopher Harnish \u2794 20 The 422 Bypass by Joel Husenits \u2795 21 Untitled by Ken Tyburski \u2794 22 Shakespeare\u27s Foreskin by Carey Christie \u2795 23 The Thaw by Chris Iven \u2794 24 The Rockbridge County Fair by Morgan Roper \u2794 25 Let it Drop Through by Carey Christie \u2795 26-27 Aladdin\u27s by Paul Rinkes \u2794 28-29 Untitled by Aileen Jones \u2794 30 The Tango by Hope Layne Morgan \u2794 31 Icarus by Carey Christine \u2795 32-33 fad by Jeremy Aufrance \u2795 34 Untitled by James Oliver \u2794 35 Desert Villanelle by Christopher Harnish \u2794 36 The Skull by Nicky Taylor \u2794 37 Rodeo Bar by Carl Jeffrey Boon \u2796 38 I, Mordred by Carey Christie \u2795 39-43 Between Centuries by Leslie Dana Wells \u2794 44-45 Untitled by Carrie Horner \u2797 45 Untitled by Alex Emmons \u2796 46 Coleridge\u27s Curse by Allison Lemieux \u2795 47 Untitled by Jenny Baker \u2794 48 five by Jeremy Aufrance \u2795 49 Untitled by James Oliver \u2794 50 Lobster Boy by Kirstin Rogers \u2794 51 Fire on the Mountain by Christopher Harnish \u2794 52-53 Yosemite by Morgan Roper \u2794 54 Untitled by Carrie Horner \u2797 54 Untitled by Ken Tyburski \u2794 55 Sleepless Nights Fades to Credits by Allison Lemieux \u2794 56 Dancing Days by Julie McDonald \u2794 57 Immobile by Adrienne Fair \u2796 58-59 Untitled by Kira Pollack \u2794 60 Dorm Fire by Lisa Marie Antonille \u2795 Untitled by Carrie Horner \u2797 61 The Book by Matt Wanat \u2795 62-63 Distance by Carl Jeffrey Boon \u2796 64 Untitled by Jenny Baker \u2794 65 Cover by Ken Tyburski \u2794 Editorial decision is shared equally among the Editorial Board. -6

Ekphrastic Revisions: Verbal-Visual Networks in 20th Century Poetry by Women

This study considers contemporary ekphrastic poetry--poems to, for, and about visual art--particularly by female poets in the U.S. and theorizes a broader, more complex model of how the genre operates. I suggest a network model that attends to the multiple, simultaneous, and often dynamic relationships inherent in verbalizing the visual arts, where historically inter-aesthetic relations have been understood as an act of transgression and a desire to subsume a representational "other." Continuing to explore ekphrasis as a socially-inscribed encounter, as critics have since W.J.T Mitchell's field-defining essay "Ekphrasis and the Other," I recast the definition of ekphrasis as an elaborate network of relationships not only between poems, images, and readers, but also literary traditions, social contexts, individual artists, related works of art, textual conditions, and historical events. This expanded conception of networked ekphrasis allows for a nuanced understanding of the relationships between the arts, where speaking for another, as ekphrastic verse does for visual art, is more than an act of gendered contest, but can be a recovery against historical erasure, as with Elizabeth Alexander's "The Venus Hottentot," an act of empathetic collusion, as in the verse of Lisel Mueller, or the deliberate decentering of poetic authority, as in Elizabeth Bishop's "The Map" and "The Monument." Thus, I position the ekphrastic network as a site of social discourse where the spectrum of possible outcomes between poetry and images is broader and more complex than accounted for in previous theorizations. "Ekphrastic Revisions" presents methodological opportunities for scholars interested in reshaping the genre's tradition. Where Part I introduces the tradition and genre of ekphrasis through methods of close readings alongside textual, biographical, and archival studies, Part II introduces a digital humanities project called "Revising Ekphrasis," which establishes best practices for using LDA topic modeling and social network analysis to read the ekphrastic genre at scale using a curated dataset of more than 4700 poems. In using tools available to the digital humanities, I take into consideration the range of possible questions that can be asked best through close and distant reading in order to revise the ekphrastic tradition