Doctoral Dissertations

Date of Award

8-2020

Degree Type

Dissertation

Degree Name

Doctor of Philosophy

Major

English

Major Professor

Marilyn Kallet

Committee Members

Benjamin Lee, Robert Sklenar, Gretchen Primack

Abstract

The poems in Making a Killing bear witness to the parallel and intersecting oppressions of women. Specifically, these poems analyze the oppression of nonhuman animals and women living in Western, patriarchal societies through fairy tales embedded in poetry, though not every poem re-tells a fairytale. In Making a Killing, the idea of a “fairytale” is extended to include anything that is or should be difficult to believe, but is continuously reinforced through the stories we tell. The poems are informed by theories of carnism, speciesism, and ecofeminism, as well as female poets who have used their work to challenge hidden systems of oppression, considered by many to be the unchangeable status quo, including Audre Lorde, Adrienne Rich, and Joy Harjo. Making a Killing concludes that the oppression of nonhuman animals reinforces violent ideology incompatible with rights the aforementioned authors fought — and continue to fight — for. Therefore, protest poetry, ecofeminist critique, and, indeed, our actions, must make space for nonhuman animals. Though this collection does occasionally incorporate formal poetry, many of the poems are free-verse narrative lyrics. Audre Lorde argued that formal poetry is “sterile word play” written by white men; while I believe that formal poetry has often been reclaimed by non-white, non-male authors, I think it’s worth recognizing the rejection of formal poetry as a means of protest. What is “sterile word play written by white men” if it is not the “language of the oppressor,” to use bell hooks’ description? Furthermore, if formal poetry is the “language of the oppressor,” how can the sole use of formal poetry be effective in communicating with the oppressed?It is my hope that the poems in this collection prompt cognitive dissonance in the reader. At their core, the poems in Making a Killing recognize that people do not want to cause suffering and pain, but deeply ingrained carnist and speciesist ideologies have prevented many from recognizing the impact of their actions. Making a Killing gently, but firmly, demands that the reader examine their complicity in suffering, with the end goal of inspiring change.

Comments

Grateful acknowledgement is given to the journals where some of these poems first appeared, many under different titles or forms: Literary Veganism, Apeiron Review, The Rumpus, SWWIM, Stirring, and Rag Queen Periodical.

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