american political poetry in the 21st century - STIBA Malang

More documents

Recommendations

Info

NOTES 209 7. See Anne Shea’s “ ‘Don’t Let Them Make You Feel You Did a Crime’: Immigration Law, Labor Rights, and Farmworker Testimony” in MELUS 28.1 (Spring 2003): 123–144, for an in-depth discussion of this issue. 8. There seem to be substantially more epigraphs in bilingual than in monolingual poems. See, for example, Villanueva’s “I Too Have Walked My Barrio Streets” (Shaking Off the Dark 51–54), where the Spanish epigraph is from Neruda, the opposite of the case in “Nuestros abuelos.” Another example is Maurice Kilwein Guevara’s “The Easter Revolt Painted on a Tablespoon,” in Poems of the River Spirit (Pittsburgh, PA: U of Pittsburgh P, 1996), 55. 9. Although the concept of markedness was developed by Roman Jakobson and the Prague School of Linguistics and later conceived as a Markedness model by Carol Myers-Scotton to account for code switching in speech, for current purposes it is most simply elucidated by Mendieta-Lombardo and Cintron. 10. See José Montoya’s “Pacheco Pass,” in In Formation: 20 Years of Joda (Aztlán: Chusma House Publications, 1992), 81–82; See also Sandra M. Castillo’s “Rincón,” in Paper Dance: 55 Latino Poets, eds. Leroy V. Quintana Cruz and Virgil Suárez (New York: Persea Books, 1995), 16, for examples of migratory agency similar to “Nuestros abuelos.” 11. The image, language, and voice in the lines “Los recuerdo en la sangre, / la sangre fértil” echoes Montoya’s lines “la sangre de / La Raza” in “Pacheco Pass” (see the previous footnote). 12. This change is already happening. The prominence of Spanish placenames in the United States and the popularity of Latin music are two prominent examples. 13. While walking past a T-shirt kiosk at a recent street fair in Manhattan’s Little Italy, I noticed a T-shirt screen printed with these words: “Welcome to the U.S. Now Speak English!” This couplet captures perfectly the sentiment I discuss here regarding “English con Salsa.” 14. See Mexican Victor Hugo Rascón Banda’s play “La mujer que cayó del cielo” (The Woman Who Fell from the Sky) (Mexico City: Escenología, A.C., 2000) for a trilingual (Spanish, English, and Tarahumara) commentary on cultural and linguistic miscommunication. It is based on the true story of Rita Quintero, an indigenous woman from Mexico who appeared in a small Kansas town in the early 1980s without a clue as to how she arrived there. 15. Balaban’s translation of Borisov’s “Let Him Be,” New Orleans Review 11.1 (1984): 82 is one of my favorite contemporary translations. Balaban’s Spring Essence: The Poetry of Ho Xuan Huong (Port Townsend, WA: Copper Canyon P, 2000) has garnered critical acclaim, commercial success, and controversy. Ho Xuan Huong was an eighteenth-century Vietnamese poet, and some Vietnamese believe she never existed and that hers was a pen name for a male government official. For other Vietnamese, she is a national hero.
210 NOTES 16. Some of the finest examples appear in Canto y Grito Mi Liberación (1971; Washington State UP, Pullman, 1995). See especially: “and it . . .”; “migrant lament . . .”; and “smile out the revolú.” For a critical study, see Miguel R. López’s Chicano Timespace: The Poetry and Politics of Ricardo Sánchez (College Station: Texas A&M UP, 2001). Chapter 4 Contestatory Urban Agency 1. See Eagleton’s discussion of Iser in Literary Theory and Iser’s The Implied Reader: Patterns in Communication in Prose Fiction from Bunyan to Beckett (Baltimore: Johns Hopkins UP, 1974). 2. LeRoi Jones’s “Black Art” first appeared in the Liberator (1966). It established many of the commitments and aesthetics of the Black Arts Movement. 3. This claim has been borne out by Bill Moyers. See “Bill Moyers’s Keynote Address: Call to Renewal,” in Sojourners Magazine (August 2004), on-line at www.sojo.net. 4. One of hip-hop’s most portable conspiracy theories is the CIA’s orchestration of the late 1980s crack cocaine epidemic and the agency’s connections with Latin American drug cartels. For ample evidence and sources for these claims, see Parenti’s Democracy for the Few (156). 5. See Butler’s Bodies that Matter: On the Discursive Limits of “Sex” (New York: Routledge, 1993). See the introduction for a discussion of citationality, interpolation, and naming in the construction of gender. 6. Though I know that B.I.G. (as Christopher Wallace) was once a drug dealer, I implicitly argue here that all rappers stage or perform personas that depart from their lived experiences. Arguments about “authenticity” have long been central to hip-hop culture, and though these questions bear on the argument advanced in this book, they are not central to them. 7. Smaller clubs such as S.O.B.’s in Manhattan, North Six in Brooklyn, the 9:30 Club in D.C., and Five Spot in Philadelphia feature cuttingedge hip-hop on a regular basis. 8. See Kenneth W. Warren’s “Ralph Ellison and the Problem of Cultural Authority,” boundary 2.30.2 (2003): 157–174, for a discussion of Arendt’s controversial comments on the 1957 integration crisis in Little Rock and on her relationship with Ellison, especially with regard to notions of authority and freedom. 9. In this regard, hip-hop is following the trajectory of jazz, which is currently more popular in Europe than in the United States. My good friend Peter Agoston, a journalist, DJ, and owner/operator of an independent hip-hop label, has embarked with his artists on successful tours of Europe, where he reports that the reception is much more
Page 2 and 3:
American Political Poetry in the 21
Page 4 and 5:
American Political Poetry in the 21
Page 6 and 7:
To the poets of the fields, village
Page 8 and 9:
Contents Preface ix Acknowledgments
Page 10 and 11:
Preface When I began reading, writi
Page 12 and 13:
PREFACE xi printed poetry and what
Page 14 and 15:
Acknowledgments In writing this boo
Page 16 and 17:
Introduction: Political Poetry in t
Page 18 and 19:
INTRODUCTION 3 always will be prima
Page 20 and 21:
INTRODUCTION 5 spectacle of man-cre
Page 22 and 23:
INTRODUCTION 7 is always a danger w
Page 24 and 25:
eceived less attention from theoris
Page 26 and 27:
INTRODUCTION 11 “political” and
Page 28 and 29:
INTRODUCTION 13 Though defining the
Page 30 and 31:
INTRODUCTION 15 “impotent” to e
Page 32 and 33:
INTRODUCTION 17 for personal as muc
Page 34 and 35:
INTRODUCTION 19 chapter title doubl
Page 36 and 37:
INTRODUCTION 21 for “alternative
Page 38 and 39:
the extant criticism about the isol
Page 40 and 41:
INTRODUCTION 25 Laureate (2001-2003
Page 42 and 43:
INTRODUCTION 27 insistence on the
Page 44 and 45:
INTRODUCTION 29 Alegría once comme
Page 46 and 47:
INTRODUCTION 31 be seen as a counte
Page 48 and 49:
INTRODUCTION 33 not want to establi
Page 50 and 51:
CHAPTER 1 Embodied Agency Introduct
Page 52 and 53:
EMBODIED AGENCY 37 for poetry even
Page 54 and 55:
EMBODIED AGENCY 39 peach halves. Th
Page 56 and 57:
EMBODIED AGENCY 41 the same event
Page 58 and 59:
EMBODIED AGENCY 43 The speaker-poet
Page 60 and 61:
EMBODIED AGENCY 45 themselves. Des
Page 62 and 63:
EMBODIED AGENCY 47 The eighth in th
Page 64 and 65:
EMBODIED AGENCY 49 In Rodríguez’
Page 66 and 67:
EMBODIED AGENCY 51 stems from memor
Page 68 and 69:
EMBODIED AGENCY 53 Frequently groun
Page 70 and 71:
EMBODIED AGENCY 55 The rhetorical s
Page 72 and 73:
EMBODIED AGENCY 57 of revolutionary
Page 74 and 75:
EMBODIED AGENCY 59 entire civilizat
Page 76 and 77:
people who manipulate them for viol
Page 78 and 79:
EMBODIED AGENCY 63 themselves from
Page 80 and 81:
EMBODIED AGENCY 65 Jesse Helms were
Page 82 and 83:
EMBODIED AGENCY 67 in using “Who
Page 84 and 85:
EMBODIED AGENCY 69 that speaks of
Page 86 and 87:
Ramirez, / who after years of confi
Page 88 and 89:
EMBODIED AGENCY 73 justice. These p
Page 90 and 91:
EMBODIED AGENCY 75 the task of poet
Page 92 and 93:
CHAPTER 2 Equivocal Agency Seems, m
Page 94 and 95:
EQUIVOCAL AGENCY 79 events, the poe
Page 96 and 97:
EQUIVOCAL AGENCY 81 reflecting but
Page 98 and 99:
EQUIVOCAL AGENCY 83 trauma theory,
Page 100 and 101:
EQUIVOCAL AGENCY 85 (Engelmann 46).
Page 102 and 103:
EQUIVOCAL AGENCY 87 suggests an asp
Page 104 and 105:
EQUIVOCAL AGENCY 89 Simic’s terse
Page 106 and 107:
EQUIVOCAL AGENCY 91 what Hannah Are
Page 108 and 109:
EQUIVOCAL AGENCY 93 tongues.” The
Page 110 and 111:
EQUIVOCAL AGENCY 95 out, Palmer is
Page 112 and 113:
atrocities she writes about. Even s
Page 114 and 115:
EQUIVOCAL AGENCY 99 Vietnam War—t
Page 116 and 117:
EQUIVOCAL AGENCY 101 This move is p
Page 118 and 119:
EQUIVOCAL AGENCY 103 Edward J. Brun
Page 120 and 121:
He continues that “he had identif
Page 122 and 123:
EQUIVOCAL AGENCY 107 out, the lion
Page 124 and 125:
EQUIVOCAL AGENCY 109 one that sees
Page 126 and 127:
EQUIVOCAL AGENCY 111 and below). Th
Page 128 and 129:
mandate or “solution” to make a
Page 130 and 131:
EQUIVOCAL AGENCY 115 Simic’s poet
Page 132 and 133:
CHAPTER 3 Migratory Agency Introduc
Page 134 and 135:
MIGRATORY AGENCY 119 with his claim
Page 136 and 137:
MIGRATORY AGENCY 121 the essences o
Page 138 and 139:
MIGRATORY AGENCY 123 challenge the
Page 140 and 141:
“English” poem disrupts “trad
Page 142 and 143:
Poems of Migratory Agency MIGRATORY
Page 144 and 145:
MIGRATORY AGENCY 129 but of nuestra
Page 146 and 147:
MIGRATORY AGENCY 131 In this final
Page 148 and 149:
MIGRATORY AGENCY 133 muertos. / Los
Page 150 and 151:
MIGRATORY AGENCY 135 primary intere
Page 152 and 153:
MIGRATORY AGENCY 137 comparing the
Page 154 and 155:
There is great facetiousness in the
Page 156 and 157:
MIGRATORY AGENCY 141 highlights the
Page 158 and 159:
MIGRATORY AGENCY 143 that “commun
Page 160 and 161:
MIGRATORY AGENCY 145 the existing l
Page 162 and 163:
argues that these Modernist poets
Page 164 and 165:
MIGRATORY AGENCY 149 illuminates di
Page 166 and 167:
MIGRATORY AGENCY 151 sadness. I cou
Page 168 and 169:
CHAPTER 4 Contestatory Urban Agency
Page 170 and 171:
CONTESTATORY URBAN AGENCY 155 their
Page 172 and 173:
CONTESTATORY URBAN AGENCY 157 “Th
Page 174 and 175: CONTESTATORY URBAN AGENCY 159 agenc
Page 176 and 177: CONTESTATORY URBAN AGENCY 161 When
Page 178 and 179: CONTESTATORY URBAN AGENCY 163 celeb
Page 180 and 181: CONTESTATORY URBAN AGENCY 165 with
Page 182 and 183: CONTESTATORY URBAN AGENCY 167 acqui
Page 184 and 185: CONTESTATORY URBAN AGENCY 169 the s
Page 186 and 187: CONTESTATORY URBAN AGENCY 171 can a
Page 188 and 189: CONTESTATORY URBAN AGENCY 173 greed
Page 190 and 191: CONTESTATORY URBAN AGENCY 175 enter
Page 192 and 193: CONTESTATORY URBAN AGENCY 177 relat
Page 194 and 195: CONTESTATORY URBAN AGENCY 179 rhyth
Page 196 and 197: CONTESTATORY URBAN AGENCY 181 world
Page 198 and 199: CONTESTATORY URBAN AGENCY 183 venue
Page 200 and 201: CONTESTATORY URBAN AGENCY 185 Summa
Page 202 and 203: CONTESTATORY URBAN AGENCY 187 to ig
Page 204 and 205: Conclusion Part One In this book I
Page 206 and 207: CONCLUSION 191 from what Muriel Ruk
Page 208 and 209: CONCLUSION 193 to evidentiary justi
Page 210 and 211: CONCLUSION 195 The debate about the
Page 212 and 213: CONCLUSION 197 For example, I write
Page 214 and 215: CONCLUSION 199 a citizen-poet becau
Page 216 and 217: Notes Introduction: Political Poetr
Page 218 and 219: For background on testimonio, see B
Page 220 and 221: 16. See Ben Lee’s “ ‘Howl’
Page 222 and 223: NOTES 207 an epigraph indicate that
Page 226 and 227: enthusiastic for, and knowledgeable
Page 228 and 229: References Primary Sources: Printed
Page 230 and 231: Villatoro, Marcos McPeek. On Tuesda
Page 232 and 233: REFERENCES 217 Folsom, Ed and Cary
Page 234 and 235: REFERENCES 219 McKenna, Teresa. Mig
Page 236 and 237: REFERENCES 221 Shetley, Vernon. Aft
Page 238 and 239: Listening: Poetry and the Performed
Page 240 and 241: REFERENCES 225 Hansen, Miriam. Fore
Page 242 and 243: abstraction, 78-80, 87, 92-3, 101-2
Page 244 and 245: Coetzee, J.M., 198-9 Colás, Santia
Page 246 and 247: institutionalization of hip-hop, 2-
Page 248 and 249: esponsibility and poetry, 28-9, 60-
show all

american political poetry in the 21st century - STIBA Malang

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?