Academic staff

Undergraduate

• American Vistas
• Cultures of Modernity
• Robots, Cyborgs and Digital Worlds
• Women and Modernism
• Critical Theory in Action

Postgraduate

• Queer Cities

Supervision

I am currently supervising PhD students working on technology, the avant-garde and the everyday, the fiction of Louis Golding, Getrude Stein and the Prose Poem, and hypertext performance. I have previously supervised PhDs on modernism and dance, diasporic modern poetry, Hart Crane, space and subjectivity in 1950s American Literature, modern and contemporary American Poetry, Edgar Allan Poe, technology and contemporary American Fiction, masculinity and contemporary culture, and Arab women's writing.

I work in the field of modernist studies, technology and literature and on American literature and culture. I have published books and articles on Mina Loy, Djuna Barnes, Gertrude Stein, American Modernism, New York Dada, technology and literature, jewish writing, contemporary poetry, modernist drama, and radio.

Research Interests

• Modernist Studies
• American Literature and Culture
• Modern and Contemporary Poetry
• Technology
• WWII Radio Drama and Features
• Sex and sexuality
• Women’s Writing

Research projects

The Edinburgh Companion to Modernism and Technology - co-edited with Ian Whittington

Reading Black Mirror - co-edited with Antonia Mackay

Of Women and Other Animals: Twentieth-century Women's Poetry and the Non-Human Turn

Books

• Goody A, Whittington I, Ed., The Edinburgh Companion to Modernism and Technology, Edinburgh University Press (2022)
  ISBN: 9781474460545
  Abstract

  Though modernism’s emergence in an environment of techno-cultural acceleration has long been recognized, recent scholarship has deepened and challenged our understanding of the connections between twentieth-century cultural production and its technological interlocutors. In twenty-eight chapters by leading academics, The Edinburgh Companion to Modernism and Technology re-examines the machines and media that functioned as modernism’s contexts and competitors. Grounded in an interdisciplinary approach informed by the theoretical and socio-historical frames of current teaching and research on modernism and technology, this research volume makes a crucial and timely intervention in the field of modernist studies. The scholarly contributions on machines that govern transport, production, and public utilities, on media and communication technologies, on the intersections of technology with the human body, and on the technological systems of the early twentieth century capture the contemporary state of modernist technology studies and chart the future directions of this vibrant area.
  

  Website 
• Goody AA, Modernist Poetry, Gender and Leisure Technologies: Machine Amusements, Palgrave Macmilllan (2019)
  eISSN: 9781349959600 ISBN: 9781349959600 eISBN: 9781349959617
  Abstract

  Modernist Poetry, Gender and Leisure Technologies: Machine Amusements explores how modernist women poets were inspired by leisure technologies to write new versions of the gendered subject. Focusing on American women writers and particularly on the city of New York, the book argues that the poetry of modernist women that engages with, examines or critiques the new leisure technologies of their era is fundamentally changed by the encounter with that technology. The chapters in the book focus on shopping, advertising, dance, film, radio and phonography, on city spaces such as Coney Island, Greenwich Village and Harlem, and on poetry that embraces the linguistic and formal innovations of modernism whilst paying close attention to the embodied politics of gender. The technologized city, and the leisure cultures and media forms emerging from it, enabled modernist women writers to re-imagine forms of lyric embodiment, inspired by the impact of technology on modern ideas of selfhood and subjectivity.
  

  Website 
• Goody A, Mackay A, Ed., Reading Westworld, Palgrave Macmillan (2019)
  ISBN: 9783030145149 eISBN: 9783030145156
  Abstract

  Reading Westworld is the first volume to explore the cultural, textual and theoretical significance of the hugely successful HBO TV seriesWestworld. The essays engage in a series of original enquiries into the central themes of the series including conceptions of the human and posthuman, American history, gaming, memory, surveillance, AI, feminism, imperialism, free will and contemporary capitalism. In its varied critical engagements with the genre, narratives and contexts of Westworld, this volume explores the show’s wider and deeper meanings and the questions it poses, as well considering how Westworld reflects on the ethical implications of artificial life and technological innovation for our own futurity. With critical essays that draw on the interdisciplinary strengths and productive intersections of media, cultural and literary studies, Reading Westworld seeks to respond to the show’s fundamental question; “Have you ever questioned the nature of your reality?” It will be of interest to students, academics and general readers seeking to engage with Westworld and the far-reaching questions it poses about our current engagements with technology. 
  

  Website 
• Parmer N, Hewitt A, Goody A, Ed., Mapping the Self: Place, Identity, Nationality, Cambridge Scholars Press (2015)
  ISBN: 9781443875479
  Abstract

  As the title indicates, three themes of perpetual interest in contemporary cultural studies – place, identity, and nationality – converge in this critical essay collection. While proffering varied and sometimes clashing arguments concerning the title themes, the essays and their authors all assert the importance of the creative text in defining, contesting, and understanding place, identity, and nationality in the modern and contemporary globalised world. The critical frameworks of these essays grow out of the groundbreaking literary and cultural studies theory of the past two decades. However, several of the essays map hitherto unchartered territory by engaging with recent works from emerging authors and a director, and providing new insight into the work of established authors. Beyond mapping new academic terrain, the collection is further distinguished by its global perspective with texts and authors from around the world which come together in a unique multinational dialogue.

  The collection is divided into three sections. The first, “Women Writers and Nationalism”, includes essays on Gertrude Stein, Adrienne Rich, Jo Shapcott, and Leila Aboulela. The second, “National Identity and Contemporary Fictions”, examines the role of contemporary fiction in establishing the respective national identities and histories of Wales and Australia. The third, “Transnational Identities”, analyses Partition literature, migrant women’s literature of France and Spain, and film director Shane Meadows’ take on new forms of nationalism. From India, Africa, Europe, Australia, and the United States, the texts and essays crisscross the globe, exploring the relationships between nationality and identity through film, memoir, poetry, and the novel. Some examine national literatures and identities; others focus on the struggle of the individual, particularly the migrant individual, to define his or her identity within a multicultural, multinational framework. Together, the essays register both collective and individual responses to nationality and illustrate new forms of nationalism and identity in the modern and contemporary world. -- Provided by publisher.

• Goody A, Technology, Literature and Culture, Polity Press (2011)
  ISBN: 9780745639543
  Abstract Technology, Literature and Culture provides a detailed and accessible exploration of the ways in which literature across the twentieth century has represented the inescapable presence and progress of technology. As this study argues, from the Fordist revolution in manufacturing to computers and the internet, technology has reconfigured our relationship to ourselves, each other, and to the tools and material we use. The book considers such key topics as the legacy of late-nineteenth century technology, the literary engagement with cinema and radio, the place of typewriters and computers in formal and thematic literary innovations, the representations of technology in spy fiction and the figures of the robot and the cyborg. It considers the importance of broadcast technology and the internet in literature and covers major literary movements including modernism, cold war writing, postmodernism and the emergence of new textualities at the end of the century. An insightful and wide-ranging study, Technology, Literature and Culture offers close readings of writers such as Virginia Woolf, Samuel Beckett, Ian Fleming, Kurt Vonnegut, Don DeLillo, Jeanette Winterson and Shelley Jackson. It is an invaluable resource for students and scholars alike in literary and cultural studies, and also introduces the topic to a general reader interested in the role of technology in the twentieth century.
• Morley C, Goody A, Ed., American Modernism: Cultural Transactions, Cambridge Scholars Press (2009)
  ISBN: 9781443813570
  Abstract

  Encompassing writers from Edith Wharton, Ezra Pound and T.S. Eliot to Willa Cather, Theodore Dreiser and Gertrude Stein, American Modernism: Cultural Transactions is a comprehensive and informative companion to the field of American literary modernism. This groundbreaking new book explores the changing patterns of American literary culture in the early years of the 20th century, in the aftermath of the great American Renaissance, when the United States was well on its way to becoming the most economically powerful and culturally influential nation in the world.

  It brings together some of the most eminent British and European scholars to investigate how the United States’s unique cultural position is in fact the by-product of a range of cultural transactions between the United States and Europe, between the visual and the literary arts, and between the economic and aesthetic worlds. And it presents a stunning re-examination of the social, cultural and artistic contours of American modernism, from the impact of a liberal Scottish speaker on T.S. Eliot’s considerations of Shakespeare to the generic hybridity of Edith Wharton’s writing, from the influence of Oscar Wilde on Hart Crane to the effect of Anglo-European experimentalism on Native American fiction – and much more.

  Through close textual and archival analysis, backed up with compelling historical insights, these nine new essays explore the nature and limits of American modernism. They address such topical issues as geomodernism, transnationalism and the nature of American identity; they examine the ways writers embraced or rejected the emerging modern world; and they take a fresh look at American literature in the broad context of international modernism. -- Provided by publisher.

  Website 
• Goody A, Modernist Articulations: A Cultural Study of Djuna Barnes, Mina Loy and Gertrude Stein, Palgrave (2007)
  ISBN: 9780230500495 eISBN: 9780230288300
  Abstract This book explores the theoretical concerns of recent literary and cultural studies through a reappraisal of three innovative women writers of the modernist period: Djuna Barnes, Mina Loy and Gertrude Stein. In its provocative combination of cultural methodologies, it significantly expands on existing aesthetic cartographies of modernism.Website 

Journal articles

• Goody A, 'Nonhuman animals and decorative modernism in Djuna Barnes and Mina Loy.'
  Women: A Cultural Review 32 (1) (2021) pp.8-31
  ISSN: 0957-4042 eISSN: 1470-1367
  Abstract

  With a focus on their depiction of the use of nonhuman animal materials this article examines how Barnes and Loy’s modernism specifically negotiates and disrupts the uncertain boundary between natural and cultural meanings in their engagements with fashion and the decorative. The article considers animal fashions and the limits of the human in Djuna Barnes’s writing, from early pieces such as ‘Vaudeville’ (1915) and ‘Madame Collects Herself’ (1918) to her late poetry, and in her journalism for New York newspapers, Vanity Fair, Charm and elsewhere. It also explores Mina Loy’s engagement with decoration and fashion through her poetry, in her essay on ‘Modern Poetry’ and in her work as a designer and inventor (including her design for a ‘Horse Ear Hat’). The article argues that, through motifs of animal decorations in women’s fashion, Barnes and Loy imagine animal-human confluences that deconstruct those dualisms and hierarchies that sustain an exploitative anthropocentric economy and a patriarchal cultural elitism. 
  

  Website 
• Goody A, 'BBC Features, Radio Voices and the Propaganda of War, 1939-1941'
  Media History 24 (2) (2018) pp.194-211
  ISSN: 1368-8804 eISSN: 1469-9729
  Abstract BBC Radio drama, and especially feature programmes, became a crucial vehicle at the beginning of the Second World War for articulating a sense of national unity and for providing accounts of the war that could counteract Nazi propaganda. This essay will explore the feature series Shadow of the Swastika (1939–40), Terence Horseley’s Narvik (1940) and Cecil McGivern’s The Battle of Britain (1941), examining how the aesthetics of this radiogenic genre developed through encounters with the propaganda politics of the British nation at the outbreak of war and in response to the reactions of radio listeners. For the writers of Shadow of the Swastika, the ‘sound alone’ of radio was crucial for creating an effective actuality in a feature, but the empathetic force of this sound actuality—its ability to stand as/for the real—raised important political and moral questions at a time of national crisis. Examining the broadcasts themselves, and drawing on audience responses to features, the essay will uncover the tensions between political and aesthetic conceptions of the radio feature between 1939 and 1941. As the essay will argue it was in this period, which spans the Phoney War and the first major British military campaigns, that friction arose between anxieties about the presence of the radio voice and its reception by listeners, and the BBC’s attempt to use the power of the radio medium to present a real account of the war. Political expediency, technology, radio aesthetics, the exigencies of war and the affectivity of sound were all negotiated through radio features as the Second World War escalated. By 1941, in response to these competing factors, the key parameters of BBC war features had solidified and they would go on to function, in the subsequent years of the war, as white propaganda binding the nation together in the struggle against Nazi Germany.Website 
• Goody A, '"The dance of the intelligence": dancing bodies in Mina Loy'
  Tulsa Studies in Womens Literature 37 (1) (2018) pp.131-156
  ISSN: 0732-7730 eISSN: 0732-7730
  Abstract Mina Loy’s engagement with dance in her writings exemplifies how a woman writer could use this corporeal art as a means to articulate a feminist sensibility. In a period when dance was undergoing similar seismic shifts to those transforming the written and visual arts, Loy drew on ballet and modern dance, and their expressive kinaesthetics, to examine the gender politics of the dancing body and explore the performative energies of the written word. This article examines Loy’s published and unpublished work, from early poems on Italian futurism to her long poem on Isadora Duncan, and the dancing that inspired them. It argues that Loy draws on dance to interrogate and experiment with the way meaning is made with the body and how the body can be part of the meanings of language.Website 
• Goody AA, 'Technological Women and Artificial Erotics in the Late Nineteenth Century'
  Nineteenth Century Studies 26 (2017) pp.261-280
  ISSN: 0893-7931
  Website 
• Goody A, 'Radio At Home: BBC Drama and the Domestic Listener'
  Modernist Cultures 10 (1) (2015) pp.62-82
  ISSN: 2041-1022 eISSN: 1753-8629
  Abstract

  In the years before, and at the outbreak of, the Second World War radio drama on the BBC emerged as a genre through which particular questions about nation, home, decency and morality were articulated. At the same time listener research developed, under the auspices of Reith's BBC, as a vehicle for understanding the preferences, habits and situations of the radio audience. Drama and Features were the first areas of radio output subject to targeted research. The reports that were produced by the BBC Listener Research Section provide an invaluable picture both of the nature and responses of specific communities of listener, and of how the radio listener her/himself was conceived. Such evidence can be usefully analysed alongside the types of drama that were developed and broadcast during this period. This essay examines the different kinds of listening subjects there were for radio drama in Britain in the 1930s and early 1940s, how they intersected with contemporary conceptions of the listener, and what situations (both private and political) came to be meaningful in the event of listening.

  Website 
• Goody A A, '"High and aloof": Verse, Violence and the Audience in Djuna Barnes's The Antiphon'
  Modern Drama 57 (2) (2014) pp.339-363
  ISSN: 0026-7694 eISSN: 1712-5286
  Website 
• Goody A, 'Mina Loy and the Hollywood Industry'
  Literature and History 21 (1) (2012) pp.76-93
  ISSN: 0306-1973
  Abstract In one of her later, New York, poems ‘Film Face', the modernist poet and artist Mina Loy presents an image of the atypical Hollywood film star Marie Dressler. Associating Dressler's body with the outcast and underclass the poem serves, alongside Loy's other explorations of cinema, to engage with the possibilities of cinematic seeing whilst also interrogating the ideological function of mainstream cinema. This article contextualises ‘Film Face' and explores its implications by locating Loy's engagement with cinema within ongoing debates about the impact of cinematic perception on modernism, by considering modernism and the politics of popular media and by comparing Loy's version of cinema to the Hollywood industry in John Dos Passos's U.S.A. It demonstrates, through this reading of Loy's work, how visual technologies have political as well as aesthetic implications for the literatures of modernism.Website 
• Goody A, 'Spectacle, technology and performing bodies; Djuna Barnes at Coney Island'
  Modernist Cultures 7 (2) (2012) pp.205-230
  ISSN: 2041-1022 eISSN: 1753-8629
  Website 
• Goody A, 'Empire, motherhood and the poetics of the self in Mina Loy's Anglo-mongrels and the Rose'
  Life Writing 6 (2009) pp.61-76
  ISSN: 1448-4528 eISSN: 1751-2964
  Abstract The modernist poet Mina Loy often drew on personal experience in her writing, but these biographical aspects are coded and disguised in her complex poetry. Nevertheless many critics have attempted to relate the assumed identities of Loy's writing to the facts of her life. Informed by recent feminist scholarship on autobiography and engaging with a range of criticism on Loy, criticism that considers both the feminist and the racial aspects of her writing, this article considers how Loy's poetic sequence Anglo-Mongrels and the Rose (1923–25) examines and transforms biographical material into feminist poetry. In this discussion the figure of the mother provides a useful frame for considering the relationship between the biographical impulse in reading Loy's writing and the autobiographical poetry that she writes. The representation of the maternal body in Anglo-Mongrels is explored and compared to accounts of language and the maternal body that feature in both Freud's Beyond the Pleasure Principle (1922) and Joyce's A Portrait of the Artist as a Young Man (1914–15). What this analysis ultimately highlights is the role of the critic herself in constructing and reworking the self put forward in the discourse of autobiography.Website 
• Goody A, 'Cyborgs, women and New York Dada'
  Space Between: Literature and Culture, 1914-1945 3 (1) (2007)
  ISSN: 1551-9309
  Website 
• Goody A, 'Murder in Mile End: Amy Levy Jewishness, and the City'
  Victorian Literature and Culture 34 (2006) pp.461-479
  ISSN: 1060-1503 eISSN: 1470-1553
  
• Goody A, '"Consider your grandmothers": modernism, gender and the New York Press'
  Media History 7 (1) (2001) pp.47-56
  ISSN: 1368-8804 eISSN: 1469-9729
  Website 
• Goody A, 'Gender, authority and the speaking subject, or, Who is Mina Loy?'
  How2 1 (5) (2001)
  ISSN: 1552-3063
  Website 
• Goody A, 'Dada’s daddy c.1917: Duchamp and the art of woman/women'
  European Journal of American Culture 19 (2) (2000)
  ISSN: 1466-0407
  
• Goody A, 'Ladies of fashion/modern(ist) women: Mina Loy and Djuna Barnes'
  Women: A Cultural Review 10 (3) (1999) pp.266-282
  ISSN: 0957-4042 eISSN: 1470-1367
  Website 

Book chapters

• Goody A, 'The New Woman and American Modernism' in Mark Whalan (ed.), The Cambridge History of American Modernism, Cambridge University Press (2022)
  Abstract

  
  

• Goody A, 'Poetic Avant-Garde: Modernism and Little Magazines' in Jane Potter (ed.), A History of World War One Poetry, Cambridge University Press (2022)
  ISBN: 9781009100649 eISBN: 9781009120098
  
• Goody A, 'The Theme Park of Forking Paths: Text, Intertext and Hypertext in Westworld' in Alex Goody and Antonia Mackay (ed.), Reading Westworld, Palgrave Macmillan (2019)
  ISBN: 9783030145149 eISBN: 9783030145156
  Abstract

  This chapter focuses on the intertextual play that marks out Westworld as a distinctive example of Quality TV. The chapter argues that Westworld can be placed in a wider literary-theoretical framework that includes interactive fiction and hypertext which, in turn offers a different perspective on the key questions of the series concerned with the impact of technology on the human. The chapter specifically considers the motif of the maze or labyrinth as synecdoche of the nexus of formal, theoretical and textual explications of nonlinear and interactive and digital narratives that shed light on Westworld’s depiction of its intradiegetic and extradiegetic players or wreaders. By thinking through the history of hypertext, the narratives of interactive textuality and the way both hypertext and Westworld negotiate ideas of (post)human agency in relation to technology, this chapter unearths an alternate lineage for the themes and dynamics of Westworld.
  

  Website 
• Goody, A, 'Djuna Barnes on the Page' in Elizabeth Pender, Cathryn Setz (ed.), Shattered Objects: Djuna Barnes's Modernism, Penn State University Press (2019)
  ISBN: 978-0-271-08220-2
  
• Goody A A, 'Poetry and Technology' in Linda A. Kinnahan (ed.), A History of Twentieth-Century American Women's Poetry, Cambridge University Press (2016)
  ISBN: 9781107137561 eISBN: 9781316488560
  Abstract The twentieth century saw an exponential increase in the forms and functions of technology; in the experience of many the century culminated in a saturation of the economic, social, and cultural world by technology. Indeed, in various predictions the century supposedly would end in a techno-apocalypse on December 31, 1999, when the “millennium bug” Y2K would cause massive computer mainframe malfunction and the breakdown of networks and infrastructure. Across the century technologies underlying revolutions in communication, transportation, architecture, medicine, industry, war, and media offered models through which poetry was both read and written and posed particular questions and opportunities for women poets. The relationship of poetry to technology is a complex one, foregrounding for some writers the incompatibility of the lyric text with the machinic processes and perspectives of a technological and industrial world. The nineteenth century had seen the decline of the public function of poetry; the conventional academic reading of this trend discerns science and technological progress replacing poetry as the discourse that best engaged the contemporary public imagination. But, exploring the way that poetry developed across the long twentieth century, it becomes apparent that poetry is not in opposition to the technological; as Carrie Noland proposes, it is necessary to acknowledge the “extensive ties, both practical and epistemological, linking capitalist expansion and its corollaries, modern industrialization and electronic information processing, to poetic forms of subjective expression.” Poetry itself works dynamically with, in, and as technology in this century, and the position of women poets in this dynamic engagement is key to understanding the politics and aesthetics of their work. Twentieth-century poetry by American women does not simply enlist the technological as tool and discipline, though these aspects of technology are central to women's distinctive participation in digital poetics in the 1980s and 1990s. American women's poetry points, in a heterogeneity of modes, toward the novel ontological and epistemological frames generated by the twentieth-century technological imagination. Martin Heidegger's theorization of technology was an influential one for the twentieth century, and a paradoxically enabling one for the poet. For Heidegger technology itself is not dangerous, but its essence as enframing (Gestell) means that everything (the world and the individual) are ordered as a “standing-reserve” to be utilized, a mode of existence at odds with any kind of authentic existence as defined by Heidegger.Website 
• Goody A A, 'The "Impersonation" of Divinity: Language, Authenticity and Embodiment in Dorothy L. Sayer's The Man Born to Be King' in Broadcasting in the Modernist Era, Bloomsbury (2014)
  ISBN: 978-1-4725-1248-2 eISBN: 978-1-4725-4345-5
  Website 
• Goody A, ''Indeed everybody did come': parties, publicity and intimacy in Gertrude Stein's Plays' in The Modernist Party, Edinburgh University Press (2013)
  ISBN: 9780748647316
  
• Goody A, 'Djuna Barnes' in Timothy Parrish (ed.), The Cambridge Companion to American Novelists, Cambridge University Press (2012)
  ISBN: 9781107013131 eISBN: 9781139003780
  Abstract

  “There is not a person in the literary world who has not heard of, read and some stolen from NIGHTWOOD. The paradox … is … I am the ‘most famous unknown of the century!’” Writing to Natalie Clifford Barney in the 1960s Djuna Barnes (1892–1982) makes a hyperbolic claim about both her 1936 novel Nightwood and her oxymoronic obscurity, but in neither case is she wholly misguided. Nightwood, described on publication as a book that “does not belong to any easily definable class,” is a defining work of the twentieth century but woefully absent on roll calls of the American novel. Barnes has been a marginal figure in the literary canon, a repeated anecdote of expatriate American modernism rather than a writer of influence. Barnes is difficult, what Daniela Caselli describes as an “improper modernist” not easily suiting labels such as “queer,” “feminist,” or “avant-garde,” and her fictional style can still disconcert the most diligent of readers. But Barnes’s major fiction shows that she is much more than a literary anecdote. Exploring Barnes’s career as a writer and novelist it becomes clear that she offers a particular response to the cultural and literary tumult of the early twentieth century and is a unique voice in the history of the American novel.
  

  Website 
• Goody A, 'Empire, motherhood and the poetics of the self in Mina Loy's Anglo-Mongrels and the Rose' in Poetry and Autobiography, Routledge (2011)
  ISBN: 9780415617550
  Abstract The modernist poet Mina Loy often drew on personal experience in her writing, but these biographical aspects are coded and disguised in her complex poetry. Nevertheless many critics have attempted to relate the assumed identities of Loy’s writing to the facts of her life. Informed by recent feminist scholarship on autobiography and engaging with a range of criticism on Loy, criticism that considers both the feminist and the racial aspects of her writing, this article considers how Loy’s poetic sequence Anglo-Mongrels and the Rose (1923/25) examines and transforms biographical material into feminist poetry. In this discussion the figure of the mother provides a useful frame for considering the relationship between the biographical impulse in reading Loy’s writing and the autobiographical poetry that she writes. The representation of the maternal body in Anglo-Mongrels is explored and compared to accounts of language and the maternal body that feature in both Freud’s Beyond the Pleasure Principle (1922) and Joyce’s A Portrait of the Artist as a Young Man (1914/15). What this analysis ultimately highlights is the role of the critic herself in constructing and reworking the self put forward in the discourse of autobiography.
• Goody A, 'Contemporary British Poetry' in John Storey (ed.), The Cambridge Companion to Contemporary British Culture, Cambridge University Press (2010)
  ISBN: 9780521864978 eISBN: 9780511780776
  Abstract

  In June 2004, the Poetry Society heralded the 'next generation' of British poets, listing in their roll-call the likes of Patience Agbabi, Nick Drake, Tobias Hill and Gwyneth Lewis, all poets first published in the previous decade. This next generation followed ten years after the new generation of poets had been announced. The 1994 new-generation list - twenty poets from Simon Armitage to Carol Ann Duffy - was part of the media buzz of the moment in which poetry was, however briefly, cited as 'the new rock 'n' roll'. The resulting media attention did not lead to a huge increase in the sales of poetry collections, but Neil Astley's Bloodaxe anthology Staying Alive had already demonstrated that there might be a wide and popular audience for the right kind of poetry package. At present, the awareness and dissemination of contemporary poetry has been expanded to an international scope particularly through internet technology such as the online Contemporary Poetry Review. With innovative presses entering the field (notably Salt Publishing in 2002), undeterred by the low sales rates for individual slim volumes, the contemporary British poetry scene appears quite vibrant and dynamic.
  

  Website 
• Goody A, 'Passing in the city: The liminal spaces of Levy’s late work' in Nadia Valman Naomi Hetherington (ed.), Critical Essays on Amy Levy, Ohio University Press (2010)
  ISBN: 9780821419052 eISBN: 9780821443071
  Website 
• Goody A, '“Goy Israels” and the “Nomadic Embrace”: Mina Loy writing race' in Claire Tylee (ed.), In the Open: Jewish Women Writers and British Culture, University of Delaware Press (2006)
  ISBN: 9780874139334
  Website 
• Goody A, 'A Hypertextual Feminine?' in Nathalie Roelens Yves Jeanneret (ed.), L’Imaginaire de l’Écran = Screen Imaginary , Rodopi (2004)
  ISBN: 9789042019614 eISBN: 9789004490314
  Abstract

  The Modernist writing of Mina Loy, a  visual and literary artist, consistently interro-gates and undermines the linearity and singular spatial logic of the written text. From her early, Futurist influenced, experiments with typography and layout she developed a distinctive and radical feminism. Loy's poem « Virgin 's Plus Curtains Minus Dots » (1915) in particular presents a  textual examination of a feminine 'text' which is at odds with the intentionality and rationality of hegemonic sexual economy. Simulta-neously, at the visual level, the poem offers a  proto-hypertextual exploration of the production of meaning(.1), which further participates in Loy's attempt to exceed the logic of the masculinist production of meaning : questioning the control and restraint offeminity is the theme and the form of the poem. As suggested by the 5ymbols in the title ('plus' and 'minus') Loy proposes a  mode of extra-semantic signification and signals its relationship to bodily economies. The published appearance of the poem offers further (multimedia) opportunities for non-sequential reading (explicitly as a feminist/feminine strategy) as it appears as a double-page spread, faced by a drawing by Clara Tice entitled« Virgins Minus Verse». The double-page extends and recon-.figures the exploration of femininity, sexuality, the feminine body, suggesting 'un-corseted' expression as a  (literalised) trope for the radical freedoms or the new confi-gurations of text and page.
  

  Website 
• Goody A, 'Autobiography/Auto-mythology: Mina Loy’s Anglo-Mongrels and the Rose' in Alison Donnell Pauline Polkey (ed.), Representing Lives: women and autobiography , Palgrave Macmillan (2000)
  ISBN: 9780333750766 eISBN: 9780230287440
  Abstract

  The work of Mina Loy, a well-known contemporary of H. D., Gertrude Stein, T. S. Eliot and Ezra Pound (who commended her contribution to modernism), has since fallen into relative obscurity. Perhaps one of the reasons for her fall from prominence, aside from the linguistic, semantic and typographical experimentalism of her writing, is Loy’s heterogeneous textual employment of her own life. There is, indeed, an autobiographical aspect in much of Loy’s work, in the Love Songs to Joannes or the novel Insel, for example, but she never offers a straightforward transposition of personal experience nor an assured assumption of an ironically biographical persona.
  

  Website 

Other publications

• Goody A, '"A New Introduction" to Charlotte Perkins Gilman Herland'
  (2022) ISBN: 9781804172414
  

I studied for my BA at the University of York and for my MA at the University of Leeds. My PhD on 'Mina Loy’s Modernist Aesthetic’ was awarded at the University of Leeds in 1997. My teaching career has taken me from Leeds to Falmouth University in Cornwall before arriving at Oxford Brookes University in 2002. I teach primarily on modernism, technology, American literature and culture, and on twentieth-century literature. I am on the Executive Committee of the British Association for Modernist Studies.