American political poetry in the 21st century by M. Dowdy

By M. Dowdy

"In this learn, Dowdy uncovers and analyzes the first rhetorical options, relatively figures of voice, in American political poetry from the Vietnam War-era to the current. by means of advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the ebook cuts throughout severe experiences geared up via id classification and material. Combining theories of service provider and cultural reviews, this Read more...

summary: "In this research, Dowdy uncovers and analyzes the first rhetorical concepts, really figures of voice, in American political poetry from the Vietnam War-era to the current. via advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the publication cuts throughout serious stories equipped by way of identification type and subject material. Combining theories of employer and cultural reports, this accomplished account of latest American verse makes use of shut readings of canonical and lesser recognized poets, bilingual poets, and hip-hop artists as a way to chart American poetry's targeted voices. This booklet could be vital to these drawn to twentieth-century poetry, poetics, hip-hop tradition, literature and politics, cultural experiences, and African-American and Latina/o cultures."--Jacket

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Poets—whether they are Chinese T’ang dynasty exiles, English Romantics, Nicaraguans in the midst of coups and revolutions, Americans writing about Vietnam, women’s rights, and the World Trade Centers, or hip-hop artists—have long tried to make their verse do political work. The following chapters attempt to explain how they do so in the multicultural, multilingual United States. This page intentionally left blank CHAP TER 1 Embodied Agency Introduction In his book about globalization, capitalism, and the failure of developing countries to integrate the extralegal poor into their economic and legal structures, Peruvian economist Hernando de Soto explains a legal theory that responds to the ways that people organize their lives outside of the law.

Many of my colleagues refuse to read or teach Whitman because they dislike his constant (and often grandiose) repetition of the first-person pronoun and of his range of (real or imagined) experiences. Much Language Poetry works to decenter the self for this very reason, so that the speaking “I” remains in the peripheries, rather than being the proverbial center of attention, even if, I would argue, Whitman’s “I” is much more complex, versatile, and democratic than these colleagues consider it.

I set out to see how poems act politically. These categories, moreover, are not selfcontained; there is significant overlap and slippage between strategies. In the conclusion I discuss a poem that actualizes multiple strategies. My categories are not nearly as rigid as Northrop Frye’s four narrative categories into which any work of literature can fit. One poem may embody multiple strategies; however, I choose the one that governs the poem, that shapes its action, power, impact, and this reader’s response to it.

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