abstraction, 78–80, 87, 92–3, 101–2, 105–6, 129, 189, 191 see also <strong>in</strong>direction accessibility of hip-hop, 156, 182–4 of <strong>political</strong> <strong>poetry</strong>, x, 94–7, 103 of scholarship, xi–xii action call to, 59–63, 157, 172–5 determ<strong>in</strong><strong>in</strong>g constra<strong>in</strong>ts on, x, 21, 31, 155–6, 162–6 social, 23 symbolic, 21–2, 39–40, 55–6, 130, 198–9 African American culture and AAVE, 63–7, 104–5 and call-and-response, 171–2 and signify<strong>in</strong>g, 7, 21, 55, 190, 202 n. 15 Agamben, Giorgio, 36 agency, x, 2, 4, 11 authoritative, 9–10, 26–7, 52–3, 191–2 collective, x, 21, 29, 31, 59–60, 89–91, 106–7, 141–4 contestatory urban, 9–10, 29–31, 153–6, 166 embodied, 9–10, 21–5, 35–40, 67, 190–1 equivocal, 9–10, 27–8, 77–84 experiential, 9–10, 21–6, 40–1 as framework for read<strong>in</strong>g <strong>poetry</strong>, 9–10, 21–3, 32 and imag<strong>in</strong>ation, 89–91 <strong>in</strong>dividual, 21, 31 Index <strong>in</strong>dividual v. collective, 56–7, 166–7 and live hip-hop, 166–84 migratory, 9–10, 28–9, 117–26, 191 types of equivocal, 79–80, 97–8 types of <strong>in</strong> <strong>poetry</strong>, 9–10, 21–4, 189–94 Alegría, Claribel, 28–9 Alexie, Sherman, 84, 206 n. 7 “Evolution,” 107–10, 134 Altieri, Charles, 41, 51, 72, 190 American literature poetic tradition <strong>in</strong>, 123–4 term<strong>in</strong>ology for, 13–14, 120–1 v. U.S. literature, 13, 28–9 Ammons, A.R., 114 anthologies, 19 Anzaldúa, Gloria, 81 Ards, Angela, 164, 180 Arendt, Hannah on “act<strong>in</strong>g <strong>in</strong> concert,” 31, 167–84 on action, 23 on imag<strong>in</strong>ation, 91 on performance, 180 Arias, Santa, 146 Aristotle, 9 Ashbery, John, 73, 150 Atmosphere, 16, 173–4, 179–80 Auden, W.H. “In Memory o W.B. Yeats,” 1–3 “September 1, 1939,” 7 audience and action, 55–7, 60–3 for hip-hop v. pr<strong>in</strong>ted <strong>poetry</strong>, x, 15–16
228 INDEX audience––cont<strong>in</strong>ued and <strong>in</strong>teriority, 14–16 for live hip-hop, 167–84 Baca, Jimmy Santiago, 125–6 “Mi Tío Baca el Poeta de Socorro,” 140–4 Baker, Jr., Houston A., 30, 31, 153 Balaban, John, 211 n. 5 “Agua Fria y Las Chicharras,” 149–50 Banda, Victor Hugo Rascón, 209 n. 14 Baraka, Amiri, 54 “Black Art,” 159 and equivocal agency, 114 “Somebody Blew Up America,” 8, 48, 63–7, 99 Bar<strong>the</strong>s, Roland, 26, 47 Basso, Keith H., 122 Beats, <strong>the</strong>, 14, 15 Beckett, Samuel, 38 Bell, Bernard W., 206 n. 3 Benjam<strong>in</strong>, Walter, 24, 36, 82, 206 n. 10 Bernste<strong>in</strong>, Charles, 6–7, 13–14, 19, 118 Bérubé, Michael, xi Beverley, John, 24, 36, 74, 142–3 Bibby, Michael, 98, 103 bil<strong>in</strong>gualism, 28–9, 117–31, 139–40, 150–1 Black Arts Movement, 21, 27 and Baraka, Amiri, 54, 63 and Giovanni, Nikki, 54–7 Blake, David Haven, 195 Blake, William, 12 Blanchot, Maurice, 45–6, 114, 208 n. 5 Blas<strong>in</strong>g, Mutlu Konuk, 10, 16, 17–18, 78 Bloom, Harold, 91 Bly, Robert, 11–12, 79 “Count<strong>in</strong>g Small-Boned Bodies,” 98–101, 103, 134 “The Teeth-Mo<strong>the</strong>r Naked at Last,” 99 Boogie Down Productions, 1–2, 165 see also KRS-One Bourdieu, Pierre, 52, 164–5 Brand Nubian, 174, 183 Brecht, Bertolt, 150 Bresl<strong>in</strong>, Paul, 92–3 Brodsky, Joseph, 123–4 Bro<strong>the</strong>r Ali, 155 Brown, Joseph A., 42 Brown<strong>in</strong>g, Robert, 94 Bruce-Novoa, Juan, 129 Brunner, Edward J., 103 Burke, Kenneth, 9–10, 21 Burnett, Paula, 92–4 Burt, Stephen, 7, 201 n. 3 Butler, Judith, 164 Campo, Rafael, 113 Candelaria, Cordelia, 120, 132, 149–50 Cardenal, Ernesto, 6, 7–8, 11, 12, 17, 22, 28, 49, 204 n. 8 Carter, Angela, 208 n. 5 Caruth, Cathy, 82 Castillo, Debra A., 120–1 Cervantes, Lorna Dee, 123 “Poema para los Californios Muertos,” 131–4, 141 Chicana/o <strong>poetry</strong> see Lat<strong>in</strong>a/o <strong>poetry</strong> Chicano Movement, 27, 63, 142, 148 Chuck D, 5, 160, 185, 196 see also Public Enemy C<strong>in</strong>tron, Zaida A. see Mendieta-Lombardo, Eva civil rights movement, 53–7, 162, 185, 204 n. 13 Cixous, Hélène, 6, 40–1, 46 code switch<strong>in</strong>g, 28–9, 122–3, 130, 148–50 see also bil<strong>in</strong>gualism
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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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CONTESTATORY URBAN AGENCY 163 celeb
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CONTESTATORY URBAN AGENCY 165 with
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CONTESTATORY URBAN AGENCY 167 acqui
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CONTESTATORY URBAN AGENCY 169 the s
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CONTESTATORY URBAN AGENCY 171 can a
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CONTESTATORY URBAN AGENCY 173 greed
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CONTESTATORY URBAN AGENCY 175 enter
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- Page 228 and 229: References Primary Sources: Printed
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