american political poetry in the 21st century - STIBA Malang

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American Political Poetry in the 21st Century
American Literature Readings in the 21st Century Series Editor: Linda Wagner-Martin American Literature Readings in the 21st Century publishes works by contemporary critics that help shape critical opinion regarding literature of the nineteenth and twentieth century in the United States. Published by Palgrave Macmillan: Freak Shows in Modern American Imagination: Constructing the Damaged Body from Willa Cather to Truman Capote By Thomas Fahy Arab American Literary Fictions, Cultures, and Politics By Steven Salaita Women & Race in Contemporary U.S. Writing: From Faulkner to Morrison By Kelly Lynch Reames American Political Poetry in the 21st Century By Michael Dowdy
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
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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).
Page 102 and 103:
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
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
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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
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MIGRATORY AGENCY 141 highlights the
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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
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CONTESTATORY URBAN AGENCY 187 to ig
Page 204 and 205:
Conclusion Part One In this book I
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CONCLUSION 191 from what Muriel Ruk
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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 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-
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