- Page 2 and 3: American Political Poetry in the 21
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- Page 6 and 7: To the poets of the fields, village
- 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
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- 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
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- Page 38 and 39: the extant criticism about the isol
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- Page 42 and 43: INTRODUCTION 27 insistence on the
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- Page 46 and 47: INTRODUCTION 31 be seen as a counte
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- Page 50 and 51: CHAPTER 1 Embodied Agency Introduct
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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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CONTESTATORY URBAN AGENCY 179 rhyth
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CONTESTATORY URBAN AGENCY 181 world
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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
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CONCLUSION 197 For example, I write
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CONCLUSION 199 a citizen-poet becau
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Notes Introduction: Political Poetr
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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
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NOTES 209 7. See Anne Shea’s “
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enthusiastic for, and knowledgeable
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References Primary Sources: Printed
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Villatoro, Marcos McPeek. On Tuesda
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REFERENCES 217 Folsom, Ed and Cary
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REFERENCES 219 McKenna, Teresa. Mig
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REFERENCES 221 Shetley, Vernon. Aft
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Listening: Poetry and the Performed
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REFERENCES 225 Hansen, Miriam. Fore
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abstraction, 78-80, 87, 92-3, 101-2
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Coetzee, J.M., 198-9 Colás, Santia
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institutionalization of hip-hop, 2-
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esponsibility and poetry, 28-9, 60-