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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NOTES 209<br />
7. See Anne Shea’s “ ‘Don’t Let Them Make You Feel You Did a<br />
Crime’: Immigration Law, Labor Rights, and Farmworker<br />
Testimony” <strong>in</strong> MELUS 28.1 (Spr<strong>in</strong>g 2003): 123–144, for an <strong>in</strong>-depth<br />
discussion of this issue.<br />
8. There seem to be substantially more epigraphs <strong>in</strong> bil<strong>in</strong>gual than <strong>in</strong><br />
monol<strong>in</strong>gual poems. See, for example, Villanueva’s “I Too Have<br />
Walked My Barrio Streets” (Shak<strong>in</strong>g Off <strong>the</strong> Dark 51–54), where <strong>the</strong><br />
Spanish epigraph is from Neruda, <strong>the</strong> opposite of <strong>the</strong> case <strong>in</strong><br />
“Nuestros abuelos.” Ano<strong>the</strong>r example is Maurice Kilwe<strong>in</strong> Guevara’s<br />
“The Easter Revolt Pa<strong>in</strong>ted on a Tablespoon,” <strong>in</strong> Poems of <strong>the</strong> River<br />
Spirit (Pittsburgh, PA: U of Pittsburgh P, 1996), 55.<br />
9. Although <strong>the</strong> concept of markedness was developed by Roman<br />
Jakobson and <strong>the</strong> Prague School of L<strong>in</strong>guistics and later conceived as<br />
a Markedness model by Carol Myers-Scotton to account for code<br />
switch<strong>in</strong>g <strong>in</strong> speech, for current purposes it is most simply elucidated<br />
by Mendieta-Lombardo and C<strong>in</strong>tron.<br />
10. See José Montoya’s “Pacheco Pass,” <strong>in</strong> In Formation: 20 Years of Joda<br />
(Aztlán: Chusma House Publications, 1992), 81–82; See also Sandra M.<br />
Castillo’s “R<strong>in</strong>cón,” <strong>in</strong> Paper Dance: 55 Lat<strong>in</strong>o Poets, eds. Leroy V.<br />
Qu<strong>in</strong>tana Cruz and Virgil Suárez (New York: Persea Books, 1995),<br />
16, for examples of migratory agency similar to “Nuestros abuelos.”<br />
11. The image, language, and voice <strong>in</strong> <strong>the</strong> l<strong>in</strong>es “Los recuerdo en la<br />
sangre, / la sangre fértil” echoes Montoya’s l<strong>in</strong>es “la sangre de / La<br />
Raza” <strong>in</strong> “Pacheco Pass” (see <strong>the</strong> previous footnote).<br />
12. This change is already happen<strong>in</strong>g. The prom<strong>in</strong>ence of Spanish placenames<br />
<strong>in</strong> <strong>the</strong> United States and <strong>the</strong> popularity of Lat<strong>in</strong> music are two<br />
prom<strong>in</strong>ent examples.<br />
13. While walk<strong>in</strong>g past a T-shirt kiosk at a recent street fair <strong>in</strong> Manhattan’s<br />
Little Italy, I noticed a T-shirt screen pr<strong>in</strong>ted with <strong>the</strong>se words:<br />
“Welcome to <strong>the</strong> U.S. Now Speak English!” This couplet captures<br />
perfectly <strong>the</strong> sentiment I discuss here regard<strong>in</strong>g “English con Salsa.”<br />
14. See Mexican Victor Hugo Rascón Banda’s play “La mujer que cayó<br />
del cielo” (The Woman Who Fell from <strong>the</strong> Sky) (Mexico City:<br />
Escenología, A.C., 2000) for a tril<strong>in</strong>gual (Spanish, English, and<br />
Tarahumara) commentary on cultural and l<strong>in</strong>guistic miscommunication.<br />
It is based on <strong>the</strong> true story of Rita Qu<strong>in</strong>tero, an <strong>in</strong>digenous<br />
woman from Mexico who appeared <strong>in</strong> a small Kansas town <strong>in</strong> <strong>the</strong> early<br />
1980s without a clue as to how she arrived <strong>the</strong>re.<br />
15. Balaban’s translation of Borisov’s “Let Him Be,” New Orleans Review<br />
11.1 (1984): 82 is one of my favorite contemporary translations.<br />
Balaban’s Spr<strong>in</strong>g Essence: The Poetry of Ho Xuan Huong (Port<br />
Townsend, WA: Copper Canyon P, 2000) has garnered critical<br />
acclaim, commercial success, and controversy. Ho Xuan Huong was<br />
an eighteenth-<strong>century</strong> Vietnamese poet, and some Vietnamese believe<br />
she never existed and that hers was a pen name for a male government<br />
official. For o<strong>the</strong>r Vietnamese, she is a national hero.