american political poetry in the 21st century - STIBA Malang

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To the poets of the fields, villages, mountains, city streets, stadiums, bars, clubs, prisons, rallies, and marches
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Page 2 and 3: American Political Poetry in the 21
Page 4 and 5: American Political Poetry in the 21
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
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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).
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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
Page 140 and 141:
“English” poem disrupts “trad
Page 142 and 143:
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
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
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MIGRATORY AGENCY 145 the existing l
Page 162 and 163:
argues that these Modernist poets
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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
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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
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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
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CONTESTATORY URBAN AGENCY 185 Summa
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CONTESTATORY URBAN AGENCY 187 to ig
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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
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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
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Notes Introduction: Political Poetr
Page 218 and 219:
For background on testimonio, see B
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16. See Ben Lee’s “ ‘Howl’
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NOTES 207 an epigraph indicate that
Page 224 and 225:
NOTES 209 7. See Anne Shea’s “
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enthusiastic for, and knowledgeable
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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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