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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210 NOTES<br />
16. Some of <strong>the</strong> f<strong>in</strong>est examples appear <strong>in</strong> Canto y Grito Mi Liberación<br />
(1971; Wash<strong>in</strong>gton State UP, Pullman, 1995). See especially: “and<br />
it . . .”; “migrant lament . . .”; and “smile out <strong>the</strong> revolú.” For a critical<br />
study, see Miguel R. López’s Chicano Timespace: The Poetry and<br />
Politics of Ricardo Sánchez (College Station: Texas A&M UP, 2001).<br />
Chapter 4 Contestatory<br />
Urban Agency<br />
1. See Eagleton’s discussion of Iser <strong>in</strong> Literary Theory and Iser’s The<br />
Implied Reader: Patterns <strong>in</strong> Communication <strong>in</strong> Prose Fiction from<br />
Bunyan to Beckett (Baltimore: Johns Hopk<strong>in</strong>s UP, 1974).<br />
2. LeRoi Jones’s “Black Art” first appeared <strong>in</strong> <strong>the</strong> Liberator (1966). It<br />
established many of <strong>the</strong> commitments and aes<strong>the</strong>tics of <strong>the</strong> Black Arts<br />
Movement.<br />
3. This claim has been borne out by Bill Moyers. See “Bill Moyers’s<br />
Keynote Address: Call to Renewal,” <strong>in</strong> Sojourners Magaz<strong>in</strong>e (August<br />
2004), on-l<strong>in</strong>e at www.sojo.net.<br />
4. One of hip-hop’s most portable conspiracy <strong>the</strong>ories is <strong>the</strong> CIA’s<br />
orchestration of <strong>the</strong> late 1980s crack coca<strong>in</strong>e epidemic and <strong>the</strong><br />
agency’s connections with Lat<strong>in</strong> American drug cartels. For ample<br />
evidence and sources for <strong>the</strong>se claims, see Parenti’s Democracy for <strong>the</strong><br />
Few (156).<br />
5. See Butler’s Bodies that Matter: On <strong>the</strong> Discursive Limits of “Sex”<br />
(New York: Routledge, 1993). See <strong>the</strong> <strong>in</strong>troduction for a discussion of<br />
citationality, <strong>in</strong>terpolation, and nam<strong>in</strong>g <strong>in</strong> <strong>the</strong> construction of gender.<br />
6. Though I know that B.I.G. (as Christopher Wallace) was once a drug<br />
dealer, I implicitly argue here that all rappers stage or perform<br />
personas that depart from <strong>the</strong>ir lived experiences. Arguments about<br />
“au<strong>the</strong>nticity” have long been central to hip-hop culture, and though<br />
<strong>the</strong>se questions bear on <strong>the</strong> argument advanced <strong>in</strong> this book, <strong>the</strong>y are<br />
not central to <strong>the</strong>m.<br />
7. Smaller clubs such as S.O.B.’s <strong>in</strong> Manhattan, North Six <strong>in</strong> Brooklyn,<br />
<strong>the</strong> 9:30 Club <strong>in</strong> D.C., and Five Spot <strong>in</strong> Philadelphia feature cutt<strong>in</strong>gedge<br />
hip-hop on a regular basis.<br />
8. See Kenneth W. Warren’s “Ralph Ellison and <strong>the</strong> Problem of Cultural<br />
Authority,” boundary 2.30.2 (2003): 157–174, for a discussion of<br />
Arendt’s controversial comments on <strong>the</strong> 1957 <strong>in</strong>tegration crisis <strong>in</strong><br />
Little Rock and on her relationship with Ellison, especially with regard<br />
to notions of authority and freedom.<br />
9. In this regard, hip-hop is follow<strong>in</strong>g <strong>the</strong> trajectory of jazz, which is currently<br />
more popular <strong>in</strong> Europe than <strong>in</strong> <strong>the</strong> United States. My good<br />
friend Peter Agoston, a journalist, DJ, and owner/operator of an<br />
<strong>in</strong>dependent hip-hop label, has embarked with his artists on successful<br />
tours of Europe, where he reports that <strong>the</strong> reception is much more