{"id":3487,"date":"2015-04-28T14:27:24","date_gmt":"2015-04-28T14:27:24","guid":{"rendered":"http:\/\/glasfrynproject.org.uk\/w\/?p=3487"},"modified":"2015-05-07T16:10:55","modified_gmt":"2015-05-07T16:10:55","slug":"james-davies-cross-referencing-in-stack","status":"publish","type":"post","link":"https:\/\/glasfrynproject.org.uk\/w\/3487\/james-davies-cross-referencing-in-stack\/","title":{"rendered":"JAMES DAVIES: Cross Referencing in &#8216;Stack&#8217;"},"content":{"rendered":"<p><strong>This essay, part of a thesis is provisionally titled <em>Stack: Minimalism, Literalism, Slowness<\/em>, examines cross referencing in <em>stack<\/em>, a poem written as part of a practice based PhD at The University of Roehampton. <\/strong><\/p>\n<p><strong>\u00a0<\/strong>Cross referencing, used creatively, is a style that can create slowness by disruption and therefore has been a tool that I have been keen to adapt in <em>stack<\/em> through the use of repetition and footnotes. In his book <em>No Medium <\/em>(2013) poet and critic Craig Dworkin points out that using footnotes in creative texts creates defamiliarisation and \u201cslows the reader\u2019s habitual consumption of the communicative content\u201d (66). The standard way to read a poem is from left to right, from start to finish until the poem makes sense, until an image, argument or narrative is followed through. This limited way of reading has been challenged regularly and variously by modernist and post-modernist schools which means that a good many readers are <em>au fait<\/em> with the proposition that any text can (and must) have multiple types of discourse and therefore be potentially open to hypertextual readings. <em>stack<\/em> uses two chief methods to direct the reader to elements of its hypertextuality: footnotes and repetition. Footnotes in <em>stack<\/em> are used both in line with and against their normative systems. Repetition in <em>stack<\/em> is carried out by duplicating lines and also by using what French group Oulipo calls the clinamen, a swerve away from symmetry that creates manifold layerings.<\/p>\n<p>&nbsp;<\/p>\n<h4>TO READ THE FULL ARTICLE, CLICK HERE:\u00a0<a href=\"https:\/\/glasfrynproject.org.uk\/w\/wp-content\/uploads\/2015\/04\/James-Davies-Cross-referencing_Junction_Box.pdf\">Cross Referencing in <em>stack<\/em><\/a><\/h4>\n<h4>TO READ AN EXTRACT FROM <em>Stack<\/em>, CLICK HERE:\u00a0<em><a href=\"https:\/\/glasfrynproject.org.uk\/w\/wp-content\/uploads\/2015\/04\/stackJunctionBox.pdf\">stack<\/a><\/em><\/h4>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #339966;\">James Davies\u2019\u00a0work includes <em>Acronyms, A Dog and Plants<\/em>. Three major works are currently in progress: <em>stack<\/em>,<em> If the die rolls 5 then I stamp the date<\/em> and <em>The Lovers<\/em> &#8211; a collaborative novel with Philip Terry. For the last 6 years he has run the poetry night and website The Other Room and edited the publishing house if p then q. He is currently undertaking a PhD in Creative Practice at The University of Roehampton. <a href=\"http:\/\/www.jamesdaviespoetry.com\/\"><span style=\"color: #339966;\">www.jamesdaviespoetry.com<\/span><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This essay, part of a thesis is provisionally titled Stack: Minimalism, Literalism, Slowness, examines cross referencing in stack, a poem written as part of a practice based PhD at The University of Roehampton. \u00a0Cross referencing, used creatively, is a style that can create slowness by disruption and therefore has been a tool that I have [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":3479,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"footnotes":"","_jetpack_memberships_contains_paid_content":false},"categories":[40,12],"tags":[],"jetpack_featured_media_url":"https:\/\/glasfrynproject.org.uk\/w\/wp-content\/uploads\/2015\/04\/images-1.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p42xiC-Uf","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/3487"}],"collection":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/comments?post=3487"}],"version-history":[{"count":4,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/3487\/revisions"}],"predecessor-version":[{"id":3624,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/3487\/revisions\/3624"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/media\/3479"}],"wp:attachment":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/media?parent=3487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/categories?post=3487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/tags?post=3487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}