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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206 NOTES<br />
magic realism: http://www.public.asu.edu/~aarios/resourcebank/<br />
def<strong>in</strong>itions/.<br />
3. In The Afro-American Novel and Its Tradition (1987), Bernard W.<br />
Bell briefly discusses <strong>the</strong> dynamic between truth of sensation and truth<br />
of fact <strong>in</strong> relation to Morrison. See <strong>the</strong> chapter on Poetic Realism.<br />
4. For fur<strong>the</strong>r read<strong>in</strong>g on trauma <strong>the</strong>ory, see Cathy Caruth’s Unclaimed<br />
Experience; Shoshana Felman and Dori Laub’s Testimony: Crises of<br />
Witness<strong>in</strong>g <strong>in</strong> Literature, Psychoanalysis, and History (New York:<br />
Routledge, 1992); Cassie Premo Steele’s We Heal from Memory; Kai T.<br />
Erikson’s Everyth<strong>in</strong>g <strong>in</strong> Its Path: Destruction of Community <strong>in</strong> <strong>the</strong><br />
Buffalo Creek Flood (New York: Simon and Schuster, 1976); Richard J.<br />
McNally’s Remember<strong>in</strong>g Trauma (Boston: Belknap/Harvard UP,<br />
2003); and Frederick Crews’s “The Trauma Trap.”<br />
5. See Albee’s The American Dream (New York: Coward-McCann,<br />
1961), Baraka’s Dutchman (New York: Morrow Quill Paperbacks,<br />
1964), and Dragún’s Historia del hombre que se convirtió en perro<br />
(History of <strong>the</strong> Man Who Was Converted <strong>in</strong>to a Dog; 1957.<br />
Aproximaciones al estudio de la literatura hispánica. 5th ed. New York:<br />
McGraw Hill, 2004: 282–288). Also see Leslie Ca<strong>the</strong>r<strong>in</strong>e Sanders’s<br />
chapter on Jones/Baraka and her discussion of <strong>the</strong> Theater of Cruelty<br />
<strong>in</strong> The Development of Black Theater <strong>in</strong> America.<br />
6. Hurricane Katr<strong>in</strong>a and its aftermath <strong>in</strong> New Orleans and along <strong>the</strong><br />
Gulf Coast brought <strong>the</strong>se faces and m<strong>in</strong>istrations to <strong>the</strong> shores of <strong>the</strong><br />
United States <strong>in</strong> late summer 2005. See Spike Lee’s When <strong>the</strong> Levees<br />
Broke: A Requiem <strong>in</strong> Four Acts (A Spike Lee Film, HBO, 2006) for a<br />
captivat<strong>in</strong>g look at <strong>the</strong> lives beh<strong>in</strong>d <strong>the</strong>se disconnected media images.<br />
7. In <strong>the</strong> novel Reservation Blues (New York: Grove P, 1995), Sherman<br />
Alexie expresses a similar sentiment, <strong>in</strong> this case <strong>in</strong> relationship to<br />
music: “Big Mom played a new flute song every morn<strong>in</strong>g to rem<strong>in</strong>d<br />
everybody that music created and recreated <strong>the</strong> world daily” (10).<br />
8. In Beloved (New York: V<strong>in</strong>tage International, 1987), Morrison writes,<br />
with regard to <strong>the</strong> relationship between schoolteacher (<strong>the</strong> brutal<br />
slaveholder) and Sixo, his slave: “schoolteacher beat him anyway to<br />
show him that def<strong>in</strong>itions belonged to <strong>the</strong> def<strong>in</strong>ers—not <strong>the</strong> def<strong>in</strong>ed”<br />
(225). As <strong>in</strong> <strong>the</strong> Thylias Moss poem discussed <strong>in</strong> chapter two,<br />
Morrison and Harjo suggest <strong>the</strong> importance of redef<strong>in</strong>ition to freedom<br />
and autonomy.<br />
9. There are thirteen years between The Country Between Us and The<br />
Angel of History. Edit<strong>in</strong>g <strong>the</strong> volum<strong>in</strong>ous Aga<strong>in</strong>st Forgett<strong>in</strong>g by many<br />
accounts took a remarkable amount of Forché’s time. In a 1988 <strong>in</strong>terview,<br />
Forché h<strong>in</strong>ts that work on The Angel of History had already been<br />
underway for years. See her <strong>in</strong>terview with Montenegro.<br />
10. Palmer’s reference to Benjam<strong>in</strong> <strong>in</strong> one of <strong>the</strong> series of title poems suggests<br />
<strong>in</strong>terest<strong>in</strong>g connections. The l<strong>in</strong>e “This is how one pictures <strong>the</strong><br />
angel of history” (227) directly quotes Benjam<strong>in</strong>. The title of Forché’s<br />
book and <strong>the</strong> <strong>in</strong>clusion of <strong>the</strong> entire passage from Benjam<strong>in</strong>’s work as