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To write is, in a certain sense, to experience the immaterial thoughts of one’s mind materialize in the becoming of scripture. Nevertheless, since early modernism, the writing of poetry has rarely been perceived as an unmediated transition of language, from the interior of the self to the material surface of writing. Indeed, the tendency of modernist and subsequent postmodernist aesthetics to emphasize the density, opacity and autonomy of the poem, for example through various techniques of fragmentation, draws attention to the ways in which the materiality of writing is implicated in the production of meaning. The present thesis is a study of how meaning and materiality interrelate in two poetry collections, Skäran (2001) and Täthetsteoremet (2012), by the contemporary Swedish poet Helena Eriksson. The aim is to show that these relationships are important effects of the metapoetic discourse in Eriksson’s poetry, and how they produce a certain tension or ambiguity in the writing subject's relation to body and language, self and other. Through a reading of the diverse representation of the hand in Eriksson’s poetry as a metapoetic motif, the analysis combines a phenomenological view of embodied subjectivity, with a media theoretical conception of the writing hand, as well as a new materialist approach to agency and embodiment. The method of analysis that follows from these perspectives is a close, reparative reading, where the poetic text is seen as a situational discursive act that reaches out to the reader in a communicative gesture, offering its own body as meaning.

Denna uppsats analyserar dikterna ”(Österöd)”, ”(Återbesök – 26 augusti)” och ”(Koelbjergkvinden)” ur Gunnar D Hanssons diktsamling Tapeshavet. Dikterna undersöks i förhållande till Timothy Mortons ekokritik, samt ur ett metapoetiskt och etiskt perspektiv. Vad dikterna framhåller är det problematiska i att försöka skriva fram en anti-antropocentrisk värld eftersom det mänskliga subjektet alltid finns implicerad i det metapoetiska greppet som Hansson använder sig av. Dikterna bär i och med detta också på en etisk aspekt eftersom de engagerar sig i frågor om både hur man bör och kan dikta om miljön. / This essay analyses the poems ”(Österöd)”, ”(Återbesök – 26 augusti)” and ”(Koelbjergkvinden)” from Gunnar D Hansson’s collection of poems Tapeshavet. The poems are examined in relation to Timothy Morton’s ecocriticism, and from a meta-poetic and ethical perspective. What the poems emphasize is the problematic aspect of trying to convey an anti-anthropocentric world, as the human subject is always implicated in the meta-poetic grip which Hansson uses. Subsequently, the poems also carry an ethical aspect because they engage in questions about both how one ought and can write about the environment.