american political poetry in the 21st century - STIBA Malang

208 NOTES
exploitation. Susan Sontag’s criticism of Salgado is especially fierce in
“Looking at War: Photography’s View of Devastation and Death”
(The New Yorker December 9, 2002). For an alternative view, see Ian
Parker’s “A Cold Light: Sebastião Salgado sails to Antarctica”
(The New Yorker April 18, 2005).
Chapter 3 Migratory Agency
1. Among numerous books that generally fit this paradigm are: Altieri’s
Self and Sensibility in Contemporary American Poetry (1984), which
includes Creeley, Rich, Ashbery, Merrill, Hass, and others; Nick
Halpern’s Domestic and Prophetic: The Poetry of Lowell, Ammons,
Merrill, and Rich (2003); Jerome Mazzaro’s Postmodern American
Poetry (Chicago: U of Illinois P, 1980), which includes Auden, Jarrell,
Roethke, Ignatow, Berryman, Plath, and Bishop; and James E.B.
Breslin’s From Modern to Contemporary: American Poetry, 1945–1965
(Chicago: U of Chicago P, 1984), which includes Ginsberg, Lowell,
Levertov, Wright, and O’Hara.
2. Chicana/o refers to those of Mexican descent born in the United
States. Latina/o is a more encompassing term used to refer to all people
in the United States of Latin American descent. I use them accordingly.
See Suzanne Oboler’s Ethnic Labels, Latino Lives: Identity and the
Politics of (Re)Presentation in the United States (Minneapolis: U of
Minnesota P, 1995) for a thorough exploration of how these markers
develop and how they affect the lives of whom they are attached.
3. For a concise history of the United Fruit Company, Guatemala, and the
1954 CIA-orchestrated coup, see Richard H. Immerman, The CIA in
Guatemala: The Foreign Policy of Intervention (Austin: The U of Texas
P, 1982), 68–82.
4. Bly’s translation of Neruda’s “La United Fruit Co.”: “When the
trumpet sounded, it was / all prepared on the earth, / and Jehovah
parceled out the earth / to Coca-Cola, Inc., Anaconda, / Ford
Motors, and other entities.” See Neruda and Vallejo: Selected Poems, ed.
Bly, trans. Bly, John Knoepfle, and James Wright (Boston: Beacon P,
1971), 84–87.
5. In The Writing of the Disaster, Maurice Blanchot suggests that language
and writing are incapable of mastery: “To want to write: what an
absurdity. Writing is the decay of the will, just as it is the loss of power,
and the fall of the regular fall of the beat, disaster again” (11). For a
short story about the dangers of “mastery,” see Angela Carter’s
“Master” in Fireworks: Nine Profane Pieces (New York: Penguin Books,
1974), 78–87.
6. See Scene from the Movie “Giant” (Willimantic, CT: Curbstone P, 1993).
For an analysis of Chicana/o identity in Giant, see Pérez-Torres’s
“Chicano Ethnicity, Cultural Hybridity, and the Mestizo Voice,”
American Literature 70.1 (1998): 153–176.