american political poetry in the 21st century - STIBA Malang

202 NOTES
thus a striking contrast between the “front” and the “back” where the
“front” is the appeal to general welfare (for instance, “what’s good for
General Motors is good for the country”) and the “back” is the
underlying, unspoken intent (to siphon off wealth to the rich at the
expense of local communities and workers).
8. Adrienne Rich’s now famous proclamation appeared in its inchoate
form in 1971 in “When We Dead Awaken: Writing as Re-Vision,”
cited here in the Norton Critical Edition of Adrienne Rich’s Poetry
and Prose (New York: W.W. Norton, 1993), 166–177: “I think
I began at this point to feel that politics was not something ‘out there’
but something ‘in here’ and of the essence of my condition.”
9. See McGann’s The Romantic Ideology: A Critical Investigation
(Chicago: U of Chicago P, 1985).
10. Dove’s “Parsley,” which explores the brutal actions of Rafael Trujillo,
former dictator of the Dominican Republic, has two sections. The first
is a nonrhyming villanelle, the second a sestina. See Selected Poems
(133–135).
11. See Helen Vendler’s The Breaking of Style: Hopkins, Heaney, Graham
(Boston: Harvard UP, 1995) for a discussion of why and how these
three poets changed their style from poem to poem as well as over
their careers.
12. See Levertov “On the Edge of Darkness: What is Political Poetry?,”
von Hallberg’s Introduction to Politics and Poetic Value, and
Ostriker’s “Dancing at the Devil’s Party: Some Notes on Politics and
Poetry,” in von Hallberg’s Politics and Poetic Value.
13. See Gibbons’s discussion of Burke (280–281).
14. See Barthes’s Roland Barthes by Roland Barthes (Berkeley: U of
California P, 1994). Also see Paul de Man’s “Autobiography as defacement”
in Deconstruction: A Reader, ed. Martin McQuillan (New
York: Routledge, 2001), 171–174. The controversy in Winter 2006
about the veracity of James Frey’s memoir A Million Little Pieces popularized
debates about truth, experience, memoir, and autobiography.
15. In the last decade there has been a shift in mainstream hip-hop into
rural places, especially in the South. Groups such as Nappy Roots
show that hip-hop can be thoroughly rural. In fact, traditions such as
playing the dozens and signifying, which have contributed greatly to
core hip-hop values, have rural roots.
16. Clear Channel owns over 1,200 radio stations and controls 70% of
major live music venues in the United States. See Damien Cave’s
“Clear Channel: Inside Music’s Superpower” in Rolling Stone,
September 2, 2004, 53–56, for background on the corporate
influence on recorded and live music.
Chapter 1 Embodied Agency
1. Poetry and testimonio are very different traditions. See Silvia N. Rosman’s
essay on Neruda for an example of how they have been studied together.