Aesthetics Contra “Identity” in Contemporary Poetry Studies
I do not at all see why we must make an either-or choice between reading Beckett or reading Aimé Césaire, between calling out and into question “cultural desires, drives, anxieties, or prejudices” or analyzing metonymy, chiasmus, sprung rhythm, lineation, anaphora, parataxis, trochees, and so forth.
Critical Immodesty and Other Grammars for Aesthetic Agency

By granting that aesthetic surfaces speak in a different language than literary criticism, post-critical reading permits us to broaden the aesthetic forms that count as “critical” and the ways in which critique functions through aesthetic form. Tyler Bradway calls for new grammars of aesthetic agency, ones that more expansively account for the critical and creative forces that aesthetic objects harness to press back against the impasses of their contemporary moment.

Last summer while travelling I read Moby Dick on my iPhone. I am now at a point in my life when, circumscribed by airline baggage weight restrictions, the choice between packing Moby Dick or an extra pair of shoes is no choice at all. So I downloaded a free version and tucked my phone in my pocket.
Hegel, Ecology, Aesthetics
...this is part of a talk I'm going to do at Queen Mary University in London in a few weeks, at the conference Emerging Critical Environments with Kate Soper and Tim Clark (and others). I already posted the opening on my blog.
Reading "The Badger"
I got back from England last week. While I was there it surprised me to see on at least two occasions a cold mound of badger flesh, large as a black plastic rubbish sack, one dead paw raised as if to ask a question in class, lying at the side of a rural road. I don't remember that sight from the days when I grew up in the country.
On Meaning and Flowers
One of the pleasures of teaching is the ability to linger at length with students on questions such as this: « Pourquoi donc y a-t-il des fleurs ? » [Why on earth are there flowers? Philippe Jaccottet. Cahier de verdure, 1990 : 106].