In this collective article, we argue for a wider recognition of Lily Greenham’s
sound poetry, underscoring her artistic uses of multilingualism
and transnational collaboration. The form of the article is conceptual:
in order to signal the importance given to poetry as a collaborative and
transnational activity in Greenham’s oeuvre, we have chosen to write the
article in six languages and as a collaboration between six scholars with
different backgrounds. The form of the article moreover refects the privilege
given to language as material, structure, and activity in Greenham’s
works. The purpose of our article is thus twofold: while we seek to initiate
an academic reception of Greenham’s works and to highlight these as
important contributions to the traditionally male-dominated historiography
of sound poetry, we also seek to examine how academic writing can alter
its conventional forms in order to address works that are not ideally suited
for hermeneutic or exegetic acts of reading