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Burton lives in the South End of Boston with her family. She received her MFA in poetry from Emerson College. She’s been published in The Endicott Review, and the Port Planet—she has also self-published Hinterland, a Chapbook, and Words and Pictures with Gordon Przybyla. Caveat: some of these poems are a work of fiction…names and places and events may have been altered.
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Fiction, Poetry AS. In English the term fiction is apposite to the novel and the short story, but not necessarily to poetry. Readers assume that novelists draw loosely on facts and freely on the imagination to create characters, stories, and objects; but they know that poems can—but do not have to be—fictional. The fictional status of a work of literature depends not on linguistics or formal considerations but on cultural conventions such as the suspension of disbelief or the willingness to entertain possibilities and impossibilities. In a work of fiction, the audience is willing to approach what it is being told in a spirit of make-believe and to allow that the pronouncements of a narrator or a lyrical voice may not correspond to the beliefs of an author. Moreover, the relation between a writer and his or her audience is a social one based on the understanding that imagination does not have to adhere to facts. The social, almost contractual nature of this relationship is underscored by the sense of betrayal some feel when a work they thought was autobiographical or historical turns out the grounded on the kind of fabrication that would have been readily accepted in a work of Fiction. ….(Princeton Encyclopedia)
The abusers by using Feminist Theory
This is an essay of my opinion of women in the arts. Like knowing art is beauty, thus able to weed through destructive forces of an art, like say the current barbaric focus with women’s “erotic poetry.” Which is bullshit. Surely any focus on the lower senses restricted to a gender, women’s poetry specifically, is not only an insult to women, but a failure to progress the art of poetry, in that I would hope any feminist school within the scope of poetry would strive for maturing the female poet, especially in the history of the collective with spirituality, beauty and art, which women have fought the long battle for name, title, intellect, property and rights. For example, Sappho to Rossetti, to Woolf and to Dickinson, to Sexton. To me it seems contemporary criticism focuses on women’s obsessive self and destructive forces and those of the sexual, rather than her art. Perhaps first was the attack on the women’s ability to write, as with social class, than intellect, then emotional weaknesses, so to manipulate insults and funding for education, but in general serious attacks are usually made on the artist personality, whether woman or man, but especially the woman.
I think if I were to build a school of criticism, say men, which looked to dissect the imagery or symbolism of sexual images, I’d look in Longfellow, or Donne’s poetry in the pursuit of his sexual images, like the penis, or the genitals. However, anything like it would consider myself in a bout with serious folly. Imagine, a literary group hoping to draw the curtain, like on women’s art, on men’s pursuit of the penis as the source of his art, like women to the vagina? Ha!
In all seriousness to degrade an art by theories on sexuality is to relieve the artist of any faults, like that of self-destruction, in that criticism and theories are deconstructing the beauty,