Secrecy, surveillance and poetic “Data bodies”

This article explores themes of secrecy and monitoring in three works of
experimental poetry published since the millennium: Redell Olsen’s Secure
Portable Space (2004), “Who Not to Speak To” by Marianne Morris (2013), and
Zoe Skoulding’s The Museum of Disappearing Sounds (2013). My analysis
draws on Zygmunt Bauman and David Lyon’s discussion of secrecy in Liquid
Surveillance, along with theories of “data doubles” and “everyday” ubiquity
of surveillance technologies, to show how these poets use innovative lyric
forms to negotiate contemporary expectations of “public” and “private”
communicative spaces.