In the spring, poet-scholar Tonya Foster generously led a creative writing and editing workshop, Poetics Lab, for academic writers in Philadelphia. Foster invited each of us to read aloud to the group a page or so from critical works in progress: dissertation chapters, seminar papers, research proposals. I spoke from Rewritings' methodology section, while everyone jotted on post-its the phrases that resonated—little neon life rafts for the project. We made poems from each other's post-its.
After the workshop, we each received the stack of responses to our own reading. I settled in at a cafe and moved the words around into a sort of poem-grid. I admired clusters that reinscribe my arguments ("near-subjugation by critical theory," "disciplined," "correct critical model," "erasure of human") and cringed at others that reflected back at me the parts of Davey's practice that I struggle with ("nude photographs," "figurative photographs," "b/w, often nude," "figurative photographs?").