“‘Come Choose the Terrible Choice’: Negotiating Language and Violation in Arielle Greenberg’s Poetry.” Women’s Studies: An Interdisciplinary Journal
Although Arielle Greenberg’s two books of poetry (Given, 2002, and My Kafka Century, 2005) both received consistent praise from reviewers, scholars have not yet taken a serious look at what her poetry contributes to contemporary women’s writing. Brandel’s article demonstrates the need to include Greenberg’s voice in this larger conversation, arguing that her poetry provides a unique sense of the complexities of women’s sexuality in the 21st century. Danger and violation loom largely in Greenberg’s shifting language, where metaphors refuse easy assimilation and perspectives slip between our fingers. As they negotiate the world of her poems, readers may feel something is wrong but cannot clearly name or articulate just what that wrongness may be. This linguistic instability demonstrates the often blurry real-life boundaries between women’s safety and violation, between sexual power and vulnerability. Ultimately, Brandel argues, Greenberg’s poems teach that abstract, fragmented, and ever-shifting feelings deserve and require recognition.
“Dreamscape: Sherlock.” Driftwood Press 4.1 (Winter 2016): 41.
Brandel’s poem, “Dreamscape: Sherlock,” explores the tension between various images of frailty and the robust immortality of the heroic Sherlock Holmes figure, asking us to consider the complexity of desire and how desire may be cultivated. Explore the digital version of the issue here.
“Interview: Darcy L. Brandel” Driftwood Press 4.1 (Winter 2016): 42-43.
A brief interview with Brandel that considers the poem “Dreamscape: Sherlock” in further detail, along with questions about her work as a whole, her writing process, favorite authors, past publications, and more. Learn more about Brandel and her poetry by reading the full interview here.
“Tribute to Chae-Pyong (J.P.) Song, 1960-2013.” Metamorphoses: A Journal of Literary Translation 23.1 (Spring 2015): 158-59.
In this tribute, Brandel celebrates the life and work of co-translator Chae-Pyong Song: “I cannot even begin to describe the immense absence that will remain in J.P.’s stead. He was a master teacher of the highest order, who perfected his trademark blend of academic rigor and passion for literature. Anyone lucky enough to know him gained an honest sense of the difficulty at the core of all serious scholarly endeavors, while learning what makes such endeavors worthwhile and meaningful. ‘This is a messy business we are in,’ he used to say about our work as scholars and seekers, and we would do well to remember this wisdom as we continue to navigate the sacred uncertainty of life.”
Translation in Metamorphoses: A Journal of Literary Translation 23.1 (Spring 2015): 154-57.
Three poems by Moon Tae-jun, translated by Chae-Pyong Song and Darcy L. Brandel: “Old Mother,” “When Rain Is About to Come,” and “Passing through the Tunnel.” One of the most popular poets of the younger generation, Moon uses deceptively simple poetic language with profound lyricism, commenting on the struggle of daily life. Grounded in Buddhist philosophy, his poems speak with reverence for all forms of life and emphasize the necessity of emptying oneself.
Translation in The American Reader: A Monthly Journal of Literature and Criticism 1.5-6 (2013): 115-118.
One poem by Hwang Byeong-seung and three by Moon Tae-jun, translated by Chae-Pyong Song and Darcy L. Brandel: “First,” “A Brief Nap,” “A Pair of Shoes in the Yard,” and “The Ibis.” The poems are part of a special translation portfolio of new literature coming out of South Korea that demonstrates the compelling diversity of contemporary Korean writing. A selection of these translations is also featured on The American Reader‘s website.
Poetry in “Protecting Paris—Kryptonite: Super Protection.” Booklet of photographs and poetry. Kryptonite Series. i.b.creative, 2012.
This accordion-style foldout art booklet includes photographs from Rose DeSloover and poetry by Darcy L. Brandel. Part of DeSloover’s ongoing Kryptonite series, here she captures images of Paris’s sanitation workers with their signature Kryptonite-green machines, tools, and uniforms. Brandel’s accompanying poem considers the boundaries between cleanliness, protection, godliness, contamination, and containment.
Translation in Gwangju News March 2012: 46-47.
Three poems by Choe Seung-ja, translated by Chae-Pyong Song and Darcy L. Brandel: “I Remember,” “From Early on, I,” and “Autumn Like a Dog.” Choe was born in Yongi, Chungcheongnam-do. She studied German literature at Korea University. Her poetry collections include Love In This Age, A Pleasant Diary, The House of Memory, My Grave–Green, Lovers, and Forlorn and Faraway. Often employing extreme, radical language and imagery, she writes to resist social discrimination, especially patriarchy.
Translation in Azalea: Journal of Korean Literature & Culture 5 (2012): 173-79.
Five poems by Hwang Byeong-Seung, translated by Chae-Pyong Song and Darcy L. Brandel: “Coming Out,” “Sikoku, the Man Dressed as Woman,” “Her Face Is a Battlefield,” “Two Stillborn Hearts,” and “Fish Song.” Hwang (1970-) debuted in 2003 by publishing five poems including “Primary Doctor H” in Para 21. He has two poetry collections: Sikoku, the Man Dressed as Woman and Track and the Star of the Field.
Translation in Azalea: Journal of Korean Literature & Culture 4 (2011): 247-51.
Five poems by Moon Tae-jun, translated by Chae-Pyong Song and Darcy L. Brandel: “One Breath,” “Extreme Emptiness,” “Silent Word,” “Bare Foot,” and “At a River Village at Dusk.” Moon (1970-) has published four collections of poetry: Chattering Backyard (2000), Bare Foot (2004), Flatfish (2006), and Shadow’s Development (2008) as well as other essays and commentary.
“Performing Invisibility: Dialogue as Activism in Grace Paley’s Texts.” Frontiers: A Journal of Women Studies 31.2 (2010): 77-102.
Brandel’s article considers the connections between formal textual experimentation and active political resistance in several works by Grace Paley. In challenging her characters’ and her own authority as storytellers, Paley disrupts the traditional hierarchy of authorial control, encouraging a kind of grassroots engagement with her texts. Paley’s texts reveal their authorial bias by allowing marginalized characters the voices to question their silences and to demand space for their stories. Such a strategy, Brandel argues, encourages readers to question what additional voices may remain silent in the texts—a powerful realization that cultivates a mindful justice for the underrepresented in Paley’s texts and beyond.
Review of Stephane Dunn’s “Baad Bitches” and Sassy Supermamas: Black Power Action Films. In Black Camera: An International Film Journal 1.2 (Summer 2010): 157-59.
[Excerpt:] Dunn characterizes her book as “a shout out to these unique, lingering, inadequately explored black superwoman icons” (4). Her work does much to alleviate this inadequacy, offering an impressively nuanced examination of the deep complexity such cinematic representations offer. Indeed, the book makes a substantial contribution to feminist film studies in its call for and investigation into further exploration of black female spectatorial desire. Dunn illustrates through her work, the difficult negotiation many black female viewers perform as they simultaneously process, challenge, celebrate, and revise the cinematic images supposedly representative of them. This process of ultimately pleasurable appropriation deserves significant consideration, and Dunn’s insightful study delivers.
“The Case of Gertrude Stein and the Genius of Collaboration.” Women’s Studies: An Interdisciplinary Journal 37.4 (June 2008): 371-92.
Beginning with an historical examination of the social and cultural factors that made Gertrude Stein a threat to the literary and artistic community she engaged in, Brandel demonstrates the resistance and hostility Stein faced from her contemporaries, from published testimonies against her to accusations of her insanity. Through these testimonies and accusations, Brandel shows women writers’ greater vulnerability to charges of insanity and how these charges often lead to judgments that deny the achievement of the work and are deaf to its elements of creative and cultural critique. Finally, through an examination of Stein’s nonsensical text, Tender Buttons (1914), Brandel argues that Stein defamiliarizes the reading process, encouraging her readers to participate in the creation of the text.