Notes from Source: This practice-based research consists of a theoretical part and a portfolio of creative work. In the theoretical part of the thesis I introduce the serial form in poetry, drawing on Joseph Conte’s definition of seriality as a modular form ‘in which individual elements are both discontinuous and capable of recombination’, and a range of examples of the serial form in poetic practice. I contend that the serial form offers a flexible modular structure to explore multiple perspectives, assemblages of diverse components and juxtaposition of disparate materials, as exemplified in aspects of seriality discussed in the following three chapters. In chapter 1 I explore the photographic and literary work of Claude Cahun and Marcel Moore. My specific focus is on their strategies for creating serial works in word and image through constructing multiple versions, mirroring, juxtaposing disparate elements, crossing generic boundaries, and montage of fragments. I suggest that their photomontages work can be considered as a visual model of Conte’s definition of a serial composition. Despite working during the period of the modernist avant-garde, their serial compositions anticipate many features in the contemporary serial works of Anne Carson and Lisa Robertson. In Chapter 2 I consider seriality in Anne Carson’s work, which evolves through constructing multiple versions, translation and retranslation, fragmentation, juxtaposition of disparate elements, re-contextualization, creating ‘mistakes’ and faux interviews. I suggest that Carson’s work as a whole unfolds as meta-series, with repeating structures, genres, characters and themes that recur in several publications. In Chapter 3 I discuss seriality in Lisa Robertson’s work. Like Carson, Robertson creates multifaceted assemblages composed from diverse texts, lines from her journals, classical literature, poetic tradition, contemporary culture and feminist discourse. Like Carson, she works across disciplines, both altering and problematizing the source texts and opening up a space for critical engagement with multiple perspectives. However, while Carson’s work unfolds as a meta-series across several publications, I suggest that Robertson’s model of serial work is focused on each publication as a distinct ‘unit of composition’ which evolves through developing a different approach to each of her book-length projects. My creative work is informed by the various models of seriality discussed in the theoretical part of my thesis. In particular my emphasis is on using the modular structure of the serial form to construct my work from multiple sources and timeframes. In the work of Claude Cahun, Anne Carson and Lisa Robertson I found helpful models for interweaving biographical/autobiographical material with a range of other texts from diverse sources that nevertheless are related in a modular framework. My emphasis in the three serial projects included in the creative part of my thesis is on creating a polyphonic texture that retains multiplicity of voices and perspectives. All three projects juxtapose voices based on actual persons and events with imaginary elements.

Further Notes: Accepted: 2021