american political poetry in the 21st century - STIBA Malang
american political poetry in the 21st century - STIBA Malang
american political poetry in the 21st century - STIBA Malang
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202 NOTES<br />
thus a strik<strong>in</strong>g contrast between <strong>the</strong> “front” and <strong>the</strong> “back” where <strong>the</strong><br />
“front” is <strong>the</strong> appeal to general welfare (for <strong>in</strong>stance, “what’s good for<br />
General Motors is good for <strong>the</strong> country”) and <strong>the</strong> “back” is <strong>the</strong><br />
underly<strong>in</strong>g, unspoken <strong>in</strong>tent (to siphon off wealth to <strong>the</strong> rich at <strong>the</strong><br />
expense of local communities and workers).<br />
8. Adrienne Rich’s now famous proclamation appeared <strong>in</strong> its <strong>in</strong>choate<br />
form <strong>in</strong> 1971 <strong>in</strong> “When We Dead Awaken: Writ<strong>in</strong>g as Re-Vision,”<br />
cited here <strong>in</strong> <strong>the</strong> Norton Critical Edition of Adrienne Rich’s Poetry<br />
and Prose (New York: W.W. Norton, 1993), 166–177: “I th<strong>in</strong>k<br />
I began at this po<strong>in</strong>t to feel that politics was not someth<strong>in</strong>g ‘out <strong>the</strong>re’<br />
but someth<strong>in</strong>g ‘<strong>in</strong> here’ and of <strong>the</strong> essence of my condition.”<br />
9. See McGann’s The Romantic Ideology: A Critical Investigation<br />
(Chicago: U of Chicago P, 1985).<br />
10. Dove’s “Parsley,” which explores <strong>the</strong> brutal actions of Rafael Trujillo,<br />
former dictator of <strong>the</strong> Dom<strong>in</strong>ican Republic, has two sections. The first<br />
is a nonrhym<strong>in</strong>g villanelle, <strong>the</strong> second a sest<strong>in</strong>a. See Selected Poems<br />
(133–135).<br />
11. See Helen Vendler’s The Break<strong>in</strong>g of Style: Hopk<strong>in</strong>s, Heaney, Graham<br />
(Boston: Harvard UP, 1995) for a discussion of why and how <strong>the</strong>se<br />
three poets changed <strong>the</strong>ir style from poem to poem as well as over<br />
<strong>the</strong>ir careers.<br />
12. See Levertov “On <strong>the</strong> Edge of Darkness: What is Political Poetry?,”<br />
von Hallberg’s Introduction to Politics and Poetic Value, and<br />
Ostriker’s “Danc<strong>in</strong>g at <strong>the</strong> Devil’s Party: Some Notes on Politics and<br />
Poetry,” <strong>in</strong> von Hallberg’s Politics and Poetic Value.<br />
13. See Gibbons’s discussion of Burke (280–281).<br />
14. See Bar<strong>the</strong>s’s Roland Bar<strong>the</strong>s by Roland Bar<strong>the</strong>s (Berkeley: U of<br />
California P, 1994). Also see Paul de Man’s “Autobiography as defacement”<br />
<strong>in</strong> Deconstruction: A Reader, ed. Mart<strong>in</strong> McQuillan (New<br />
York: Routledge, 2001), 171–174. The controversy <strong>in</strong> W<strong>in</strong>ter 2006<br />
about <strong>the</strong> veracity of James Frey’s memoir A Million Little Pieces popularized<br />
debates about truth, experience, memoir, and autobiography.<br />
15. In <strong>the</strong> last decade <strong>the</strong>re has been a shift <strong>in</strong> ma<strong>in</strong>stream hip-hop <strong>in</strong>to<br />
rural places, especially <strong>in</strong> <strong>the</strong> South. Groups such as Nappy Roots<br />
show that hip-hop can be thoroughly rural. In fact, traditions such as<br />
play<strong>in</strong>g <strong>the</strong> dozens and signify<strong>in</strong>g, which have contributed greatly to<br />
core hip-hop values, have rural roots.<br />
16. Clear Channel owns over 1,200 radio stations and controls 70% of<br />
major live music venues <strong>in</strong> <strong>the</strong> United States. See Damien Cave’s<br />
“Clear Channel: Inside Music’s Superpower” <strong>in</strong> Roll<strong>in</strong>g Stone,<br />
September 2, 2004, 53–56, for background on <strong>the</strong> corporate<br />
<strong>in</strong>fluence on recorded and live music.<br />
Chapter 1 Embodied Agency<br />
1. Poetry and testimonio are very different traditions. See Silvia N. Rosman’s<br />
essay on Neruda for an example of how <strong>the</strong>y have been studied toge<strong>the</strong>r.