american political poetry in the 21st century - STIBA Malang

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References Primary Sources: Printed Poetry Alexie, Sherman. The Business of Fancydancing. New York: Hanging Loose P, 1991. Ammons, A.R. Tape for the Turn of the Year. Ithaca, NY: Cornell UP, 1965. Auden, W.H. Collected Poems. 1976. Ed. Edward Mendelson. New York: Vintage International, 1991. Baca, Jimmy Santiago. Immigrants in Our Own Land. Baton Rouge: Louisiana State UP, 1979. ———. “Mi Tío Baca el Poeta de Socorro.” Postmodern American Poetry: A Norton Anthology. Ed. Paul Hoover. New York: Norton, 1994. 591–593. Balaban, John. Words for My Daughter. The National Poetry Series. Port Townsend, WA: Copper Canyon P, 1991. Baraka, Amiri. “Somebody Blew Up America.” African American Review 37.2/3 (2003): 198–203. Bly, Robert. Selected Poems. New York: Harper & Row, 1986. Brecht, Bertolt. “Motto.” Against Forgetting: Twentieth-Century Poetry of Witness. Ed. Forché. New York: Norton, 1993. 27. Cervantes, Lorna Dee. Emplumada. Pittsburgh, PA: U of Pittsburgh P, 1981. Cruz, Victor Hernández. Maraca: New and Selected Poems, 1966–2000. Minneapolis, MN: Coffee House P, 2001. ———. Red Beans: Poems. Minneapolis, MN: Coffee House P, 1991. Dove, Rita. Selected Poems. New York: Vintage, 1993. Eliot, T.S. “The Waste Land.” 1922. Selected Poems. New York: Harcourt Brace & Co., 1988. 49–74. Espada, Martín. Alabanza: New and Selected Poems 1982–2002. New York: Norton, 2003. Forché, Carolyn. The Country Between Us. New York: Harper & Row, 1981. ———. The Angel of History. New York: Harper Perennial, 1994. Frost, Robert. The Poetry of Robert Frost: The Collected Poems. Ed. Edward Connery Lathem. New York: Henry Holt & Co., 1987. Giovanni, Nikki. The Collected Poetry of Nikki Giovanni: 1968–1998. New York: Morrow, 2003. Harjo, Joy. How We Became Human: New and Selected Poems 1975–2001. New York: Norton, 2002. Hamill, Sam and Sally Anderson, eds. Poets against the War. New York: Nation Books, 2003.
214 REFERENCES Harper, Michael S. Dear John, Dear Coltrane. Pittsburgh, PA: U of Pittsburgh P, 1970. Kinnell, Galway. “When the Towers Fell.” The New Yorker. September 16, 2002. Komunyakaa, Yusef. Dien Cai Dau. Middletown, CT: Wesleyan UP, 1988. ———. Neon Vernacular: New and Selected Poems. Hanover, NH: Wesleyan UP, 1993. Lee, Don. L. Don’t Cry, Scream. Detroit: Broadside P, 1969. Levine, Philip. They Feed They Lion & The Names of the Lost. New York: Alfred A. Knopf, 1999. Merwin, W.S. The Second Four Books of Poems: The Moving Target, The Lice, The Carriers of Ladders, Writings to an Unfinished Accompaniment. Port Townsend, WA: Copper Canyon P, 1993. Montoya, José. In Formation: 20 Years of Joda. Aztlán: Chusma House Publications, 1992. Moss, Thylias. Pyramid of Bone. The Callaloo Poetry Series. Vol. 8. Charlottesville: UP of Virginia, 1989. Neruda, Pablo. Canto general. 1950. 2nd ed. Ed. Hernán Loyola. Barcelona: Random House Mondadori, S.A., 2005. Palmer, Michael. Codes Appearing: Poems 1979–1988. New York: New Directions, 2001. Pound, Ezra. “In a Station of the Metro.” 1916. The Norton Anthology of Modern and Contemporary Poetry. 3rd ed. Ed. Jahan Ramazani, Richard Ellman, and Robert O’Clair. New York: Norton, 2003. 351. Rexroth, Kenneth, trans. One Hundred Poems from the Chinese. New York: New Directions, 1971. Rich, Adrienne. Your Native Land, Your Life. New York: Norton, 1986. Rodríguez, Luis J. “Then Comes a Day.” 1989. Poetry Like Bread: Poets of the Political Imagination from Curbstone Press. 3rd ed. Ed. Espada. Willimantic, CT: Curbstone P, 2000. 183–184. Simic, Charles. The Voice at 3:00 AM: Selected Late & New Poems. New York: Harcourt, 2003. Snyder, Gary. Turtle Island. New York: New Directions, 1974. Soto, Gary. “Mexicans Begin Jogging.” Red, White, and Blues: Poets on the Promise of America. Ed. Virgil Suárez and Ryan G. Van Cleave. Iowa City: U of Iowa P, 2004. 173. Stevens, Wallace. The Collected Poems of Wallace Stevens. 1954. 2nd ed. New York: Vintage, 1990. Troupe, Quincy. “Boomerang: A Blatantly Political Poem.” Against Forgetting: Twentieth-Century Poetry of Witness. Ed. Forché. New York: Norton, 1993. 665–666. Valdez, Gina. “English con Salsa.” Touching the Fire: Fifteen Poets of Today’s Latino Renaissance. Ed. Ray González. New York: Doubleday, 1998. 203–204. Villanueva, Tino. Shaking Off the Dark. 1984. Tempe, AZ: Bilingual P/Editorial Bilingüe, 1998.
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American Political Poetry in the 21
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American Political Poetry in the 21
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To the poets of the fields, village
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Contents Preface ix Acknowledgments
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Preface When I began reading, writi
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PREFACE xi printed poetry and what
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Acknowledgments In writing this boo
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Introduction: Political Poetry in t
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INTRODUCTION 3 always will be prima
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INTRODUCTION 5 spectacle of man-cre
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INTRODUCTION 7 is always a danger w
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eceived less attention from theoris
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INTRODUCTION 11 “political” and
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INTRODUCTION 13 Though defining the
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INTRODUCTION 15 “impotent” to e
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INTRODUCTION 17 for personal as muc
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INTRODUCTION 19 chapter title doubl
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INTRODUCTION 21 for “alternative
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the extant criticism about the isol
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INTRODUCTION 25 Laureate (2001-2003
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INTRODUCTION 27 insistence on the
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INTRODUCTION 29 Alegría once comme
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INTRODUCTION 31 be seen as a counte
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INTRODUCTION 33 not want to establi
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CHAPTER 1 Embodied Agency Introduct
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EMBODIED AGENCY 37 for poetry even
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EMBODIED AGENCY 39 peach halves. Th
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EMBODIED AGENCY 41 the same event
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EMBODIED AGENCY 43 The speaker-poet
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EMBODIED AGENCY 45 themselves. Des
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EMBODIED AGENCY 47 The eighth in th
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EMBODIED AGENCY 49 In Rodríguez’
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EMBODIED AGENCY 51 stems from memor
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EMBODIED AGENCY 53 Frequently groun
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EMBODIED AGENCY 55 The rhetorical s
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EMBODIED AGENCY 57 of revolutionary
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EMBODIED AGENCY 59 entire civilizat
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people who manipulate them for viol
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EMBODIED AGENCY 63 themselves from
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EMBODIED AGENCY 65 Jesse Helms were
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EMBODIED AGENCY 67 in using “Who
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EMBODIED AGENCY 69 that speaks of
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Ramirez, / who after years of confi
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EMBODIED AGENCY 73 justice. These p
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EMBODIED AGENCY 75 the task of poet
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CHAPTER 2 Equivocal Agency Seems, m
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EQUIVOCAL AGENCY 79 events, the poe
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EQUIVOCAL AGENCY 81 reflecting but
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EQUIVOCAL AGENCY 83 trauma theory,
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EQUIVOCAL AGENCY 85 (Engelmann 46).
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EQUIVOCAL AGENCY 87 suggests an asp
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EQUIVOCAL AGENCY 89 Simic’s terse
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EQUIVOCAL AGENCY 91 what Hannah Are
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EQUIVOCAL AGENCY 93 tongues.” The
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EQUIVOCAL AGENCY 95 out, Palmer is
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atrocities she writes about. Even s
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EQUIVOCAL AGENCY 99 Vietnam War—t
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EQUIVOCAL AGENCY 101 This move is p
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EQUIVOCAL AGENCY 103 Edward J. Brun
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He continues that “he had identif
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EQUIVOCAL AGENCY 107 out, the lion
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EQUIVOCAL AGENCY 109 one that sees
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EQUIVOCAL AGENCY 111 and below). Th
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mandate or “solution” to make a
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EQUIVOCAL AGENCY 115 Simic’s poet
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CHAPTER 3 Migratory Agency Introduc
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MIGRATORY AGENCY 119 with his claim
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MIGRATORY AGENCY 121 the essences o
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MIGRATORY AGENCY 123 challenge the
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“English” poem disrupts “trad
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Poems of Migratory Agency MIGRATORY
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MIGRATORY AGENCY 129 but of nuestra
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MIGRATORY AGENCY 131 In this final
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MIGRATORY AGENCY 133 muertos. / Los
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MIGRATORY AGENCY 135 primary intere
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MIGRATORY AGENCY 137 comparing the
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There is great facetiousness in the
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MIGRATORY AGENCY 141 highlights the
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MIGRATORY AGENCY 143 that “commun
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MIGRATORY AGENCY 145 the existing l
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argues that these Modernist poets
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MIGRATORY AGENCY 149 illuminates di
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MIGRATORY AGENCY 151 sadness. I cou
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CHAPTER 4 Contestatory Urban Agency
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CONTESTATORY URBAN AGENCY 155 their
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CONTESTATORY URBAN AGENCY 157 “Th
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CONTESTATORY URBAN AGENCY 159 agenc
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CONTESTATORY URBAN AGENCY 161 When
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Page 184 and 185: CONTESTATORY URBAN AGENCY 169 the s
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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 224 and 225: NOTES 209 7. See Anne Shea’s “
Page 226 and 227: enthusiastic for, and knowledgeable
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-
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