Coetzee, J.M., 198–9 Colás, Santiago, 24 Coll<strong>in</strong>s, Billy, 24–5, 52 Common, 182 compromise <strong>in</strong> authoritative agency, 26–7, 52–6 <strong>in</strong> contestatory urban agency, 159–60 <strong>in</strong> equivocal agency, 98–9, 102–3 <strong>in</strong> experiential agency, 43–4 context <strong>in</strong> equivocal agency, 78–80, 84–8, 97–8 for experience, 41–4 historical/cultural, 6–9, 27–8, 36 Costello, Mark, 30 counterculture and hip-hop, 3–4, 30–1, 33, 155 and <strong>poetry</strong>, 2–4, 80 Coup, The, 172–3, 182–4 “Heven Tonite,” 153 Crane, Hart, 146–7 C-Rayz Walz, 175 Crews, Frederick, 83 Cruz, Victor Hernández, 123, 135, 148–9, 151, 212 n. 7 Cunn<strong>in</strong>lynguists, 174–5 Damon, Maria, 31 dead prez, 64, 155, 182–4 DeShazer, Mary K., 12, 26 de Soto, Hernando, 35, 144–5 Des Pres, Terrence, 4–5, 44–5, 62 diction, 5, 49, 127, 149–50 Didion, Joan, 205 n. 19 Dimitriadis, Greg, 171 disaster, 45–6, 85–8, 95–7 Donzella, Niccolò N., 43 Doty, Mark, 13, 52 Doubiago, Sharon, 39 Dove, Rita “The House Slave,” 192–3 “Parsley,” 18 Duncan, Robert, 12 INDEX 229 Dylan, Bob, 195 Dyson, Michael Eric, 31, 167, 183 eco<strong>poetry</strong>, 8–9, 57–60 Edan, 2 efficacy of <strong>poetry</strong>, 3–4, 9–10, 180–1 elegy, 41–4 Eliot, T.S. and migratory agency, 117, 121–2, 148–9 Ellison, Ralph, 138, 161, 210 n. 8 Espada, Martín, 153–4 “Mariano Expla<strong>in</strong>s Yanqui Colonialism to Judge Coll<strong>in</strong>gs,” 144–7 “The Mean<strong>in</strong>g of <strong>the</strong> Shovel,” 73–4 Evans, Stephen F., 108–9 evidence poetic, 27, 36, 40, 83 experience of disaster, 44–8 of immersion, 176–7 <strong>in</strong>dividual v. collective, 36, 51–2, 56–7 and memory, 81–3 and <strong>poetry</strong>, 11, 14, 22–8, 35–41, 48–9, 55, 190–1 and trauma <strong>the</strong>ory, 82–4 Fanon, Frantz, 89 Folsom, Ed, 13 Forché, Carolyn, 11, 12, 47, 72–4 Aga<strong>in</strong>st Forgett<strong>in</strong>g, 40, 78 “The Colonel,” 38–40, 203 n. 3 The Country Between Us, 38–40, 68 <strong>in</strong> El Salvador, 9, 38–40, 50–1 v. Palmer, Michael, 95–7, 103 on rhetorical strategies, 20, 26 “Return,” 67–72 form v. content, 126, 170–1 of hip-hop, 17–18
230 INDEX form––cont<strong>in</strong>ued and music, 195–7 poetic, 16–18, 38, 203 n. 5 formalism, 15, 16–17 Frazier, Jane, 28, 80 free verse, 16–18, 20 Frost, Robert “The Road Not Taken,” 11 Frye, Northrop, 20, 25 Gadamer, Hans-Georg, 7 Gard<strong>in</strong>ier, Suzanne, 6 Gardner, Joann, 39 Gates, Jr., Henry Louis, 161 George, Nelson, 171–2, 176, 182 Gery, John, 12, 18–19 Gibbons, Reg<strong>in</strong>ald, 7–8, 10, 11, 17, 19, 20, 22, 28, 54, 204 n. 8 Giddens, Anthony, 5, 22–3, 84, 87, 165, 201 n. 7 Gilbert, Roger, 26–7 Gillan, Jennifer, 107 G<strong>in</strong>sberg, Allen, 205 n. 16 Gioia, Dana, 15, 195 Giovanni, Nikki “My Poem,” 56–7 “The True Import of Present Dialogue, Black vs. Negro,” 53–6 Good, Carl, 146–7 Goodman, Jenny, 9–10, 14–15, 27, 36, 89–90 Grae, Jean “Block Party,” 154–5, 161–2 Graham, Jorie, 73, 114 Grass, Gxnter, 7 Greer, Michael, 67, 70, 87 Gugelberger, Georg M., 33, 151 Hall, Stuart, 155–6, 161, 163 Halpern, Nick, 62 Hamill, Sam, 8, 99 Hamlet, 77–8 Hansen, Miriam, 169–70, 173–4, 179–80 Harjo, Joy, 9, 15 “A Postcolonial Tale,” 78, 88–91 Harper, Michael S. “Deathwatch,” 41–4, 78–9 Harper, Phillip Brian, 54, 56 Harr<strong>in</strong>gton, Joseph, 30 Harris, Victoria Frenkel, 100 Hass, Robert and equivocal agency, 114 on poetic form, 17, 195–6 and poets’ roles, 8 on witness, 74–5, 144, 153–4 Helms, Alan, 106 hermeneutics, 7 Herrnste<strong>in</strong>-Smith, Barbara, 9, 88 Herzog, Anne, 26, 60, 62 hip-hop agency, 29–31, 153–6 form of, 17–18 <strong>in</strong>fluence on values and commitments of, ix, 3, 15–16, 29–30, 153–4, 168 live, xi, 3, 7, 23, 29, 31, 166–84 lyrics, 157–66 v. rap, 201 n. 1 sampl<strong>in</strong>g, xii tropes, 2, 156–62 Hirsch, Edward, 1, 6, 9, 12, 15, 104 history as absence, 131–4 concept of, 47–8 models of, 81–2 as <strong>the</strong> “official story,” 47, 66, 81–2, 159–60 imagery, 38–9, 57–9, 101–2, 105–6 imag<strong>in</strong>ation and authority, 72 and equivocal agency, 77–84, 88–91, 113–15 and experience, 36–40 and <strong>poetry</strong>, 8, 23 v. referentiality, 8, 12, 23, 27–8 <strong>in</strong>direction, 3, 9–10, 27–8, 77–9, 84, 99–103
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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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CONTESTATORY URBAN AGENCY 177 relat
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- Page 228 and 229: References Primary Sources: Printed
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