CARMEN GIMÉNEZ SMITH is the author of a memoir and five poetry collections, including Milk & Filth, a finalist for the National Book Critics Circle award. She coedited Angels of the Americlypse: An Anthology of New Latin@ Writing (Counterpath Press 2014). She is the co-founder and publisher of Noemi Press. Alongside Stephanie Burt, Giménez Smith edits the poetry section for The Nation. Her latest collection of poems, Cruel Futures (2018), is a volume in the City Lights Spotlight Series. Her next collection, Be Recorder, will be published by Graywolf Press in 2019.
ALLISON ADELLE HEDGE COKE’s books include The Year of the Rat; Dog Road Woman; Off-Season City Pipe; Blood Run; Sing: Poetry from the Indigenous Americas; Effigies I & II; Rock, Ghost, Willow, Deer; Burn; and Streaming. Awards include an American Book Award, a King-Chavez-Parks Award, an NWCA Lifetime Achievement Award, and the 2016 Library of Congress Witter Bynner Fellowship. Hedge Coke directs the Literary Sandhill CraneFest in Nebraska and is Distinguished Professor of Creative Writing at the University of California–Riverside.
CATHY PARK HONG’s latest poetry collection, Engine Empire, was published in 2012 by W. W. Norton. Her other collections include Dance Dance Revolution, chosen by Adrienne Rich for the Barnard Women Poets Prize, and Translating Mo’um. Hong is the recipient of a Guggenheim Fellowship and a National Endowment for the Arts Fellowship. She is the poetry editor of the New Republic and is an associate professor at Sarah Lawrence College. She is currently working on a book of nonfiction on race, poetry, and the arts.
CHRISTINE HUME is the author of The Saturation Project (Solid Objects 2019), a lyric memoir in the form of three interlinked essays, as well as three books of poetry. Her chapbooks include Lullaby: Speculations on the First Active Sense (Ugly Duckling Presse 2008), Ventifacts (Omnidawn 2012), Atalanta: An Anatomy (Essay Press 2016), and Question Like a Face (Image Text Ithaca 2017). She teaches in the interdisciplinary creative writing program at Eastern Michigan University, and lives in Ypsilanti with her partner, Jeff Clark, and their daughter, Juna.
BHANU KAPIL is a British/Indian American writer who lives in Colorado. She has written five books, most recently Ban en Banlieue (Nightboat Books 2015). A new edition of Incubation: A Space for Monsters will be published by Kelsey Street Press in 2018.
MAURICIO KILWEIN GUEVARA was born in Colombia and raised in Pittsburgh, Pennsylvania. He is the author of four collections of poetry: Postmortem (winner of the National Contemporary Poetry Series Competition), Poems of the River Spirit, Autobiography of So-and-so: Poems in Prose, and POEMA. His play, The Last Bridge/El último puente, received a staged reading Off-Broadway. His literary work has been published internationally in Mexico, Colombia, Argentina, the UK, Spain, and China. He is currently writing a seriocomic novel set in Ecuador, entitled The Thieves of Guevara. He teaches in the doctoral creative writing program at the University of Wisconsin–Milwaukee.
EUNSONG KIM is an assistant professor in the Department of English at Northeastern University. Her essays on literature, digital cultures, and art criticism have appeared in Journal of Critical Library and Information Studies, Scapegoat, Lateral, and New Inquiry, and in the book anthologies Reading Modernism with Machines and Disrupting Digital Humanities. She was awarded Yale University’s Poynter Fellowship in 2016 and was the recipient of a 2015 Andy Warhol Foundation Arts Writers Grant for the arts forum contemptorary. Copy Paper: Ream 1 was published by Flying Object in 2015 as part of its pamphlet series, and her first book of poems, Gospel of Regicide, was published in 2017 by Noemi Press.
Selected for the National Poetry Series in 2017 and a recipient of the Walt Whitman Award from the Academy of American Poets, J. MICHAEL MARTINEZ is the author of three collections of poetry. He is poetry editor of NOEMI Press, and his writings have been anthologized in Ahsahta Press’s The Arcadia Project: North American Postmodern Pastoral, Rescue Press’s The New Census: 40 American Poets, and Counterpath Press’s Angels of the Americlypse: An Anthology of New Latin@ Writing. He lives and teaches in Denver, Colorado.
JOYELLE MCSWEENEY is the author of eight books of poetry, prose, drama, and criticism, including, most recently, The Necropastoral: Poetry, Media, Occults (ecopoetics, University of Michigan Press, Poets on Poetry Series); Dead Youth, or, the Leaks (verse play, winner of the inaugural Scalapino Prize for Innovative Women Performance Artists); and Percussion Grenade (poems and a play, Fence Books). With Johannes Göransson, she runs the international press Action Books. She teaches at Notre Dame and lives in South Bend, Indiana.
FRED MOTEN teaches and conducts research in black studies, performance studies, poetics, and critical theory. He is author of consent not to be a single being, In the Break: The Aesthetics of the Black Radical Tradition, Hughson’s Tavern, B Jenkins, The Feel Trio, The Little Edges, and The Service Porch. He is coauthor, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study and A Poetics of the Undercommons; and, with Wu Tsang, coauthor of Who touched me? Moten works in the Department of Performance Studies at the Tisch School of the Arts, New York University.
CHRIS NEALON is professor of English and chair of the English department at Johns Hopkins University. He is the author of two books of criticism: Foundlings: Lesbian and Gay Historical Emotion before Stonewall (Duke University Press 2001) and The Matter of Capital: Poetry and Crisis in the American Century (Harvard University Press 2011); and three books of poetry: The Joyous Age (Black Square Editions 2004), Plummet (Edge Books 2009), and Heteronomy (Edge 2014). He is currently at work on a critique of academic antihumanism. He lives in Washington, DC.
URAYOÁN NOEL is the author of six books of poetry, most recently Buzzing Hemisphere/Rumor Hemisférico (University of Arizona Press) and the performance text EnUncIAdOr (Editora Educación Emergente). His other works include the critical study In Visible Movement: Nuyorican Poetry from the Sixties to Slam (University of Iowa Press), winner of the LASA Latino Studies Book Prize; and the bilingual edition Architecture of Dispersed Life: Selected Poems by Pablo de Rokha, forthcoming from Shearsman Books. Noel is associate professor of English and Spanish at New York University, and also teaches at the low-residency MFA of the Americas at Stetson University.
DANIELLE PAFUNDA is a poet, critic, and writer. Her eight books include The Dead Girls Speak in Unison (Bloof Books), Natural History Rape Museum (Bloof Books), and Beshrew That Heart That Makes My Heart to Groan (forthcoming, Dusie Press Books). She has taught at the University of Wyoming and University of California–San Diego, among other places; she sits on the VIDA: Women in Literary Arts Board of Directors, and lives in the desert with her children.
CRAIG SANTOS PEREZ is a native Chamorro from the Pacific Island of Guam. He is the author of four books, most recently from unincorporated territory [lukao] (Omnidawn 2017). from unincorporated territory [guma’] (Omnidawn 2014) received an American Book Award in 2015. He is an associate professor in the English department at the University of Hawai‘i, Mānoa, where he teaches Pacific literature, creative writing, and ecopoetry. In 2017, he received a Lannan Foundation Literary Fellowship.
MARTIN JOSEPH PONCE is associate professor of English at The Ohio State University and has served as coordinator of the Asian American Studies and Sexuality Studies programs. He is the author of Beyond the Nation: Diasporic Filipino Literature and Queer Reading (2012) and coeditor of Samuel Steward and the Pursuit of the Erotic: Sexuality, Literature, Archives (2017).
CLAUDIA RANKINE is the Frederick Iseman Professor of Poetry at Yale University in the departments of African American Studies and English. She is author of five collections of poetry, including Citizen: An American Lyric and Don’t Let Me Be Lonely; two plays including Provenance of Beauty: A South Bronx Travelogue; numerous video collaborations; and is the editor of several anthologies, including The Racial Imaginary: Writers on Race in the Life of the Mind. Rankine won a Guggenheim Fellowship in 2017. She was awarded the MacArthur Fellowship “genius” award in 2016. For Citizen, Rankine won the PEN Open Book Award and the PEN Literary Award, the
NAACP Award, and the National Book Critics Circle Award for Poetry, and was a finalist for the National Book Award.
BARBARA JANE REYES is the author of Invocation to Daughters (City Lights). She was born in Manila, Philippines, and raised in the San Francisco Bay Area. She is the author of Gravities of Center (Arkipelago Books); Poeta en San Francisco (Tinfish Press), which received the James Laughlin Award of the Academy of American Poets; Diwata (BOA Editions, Ltd.), which received the Global Filipino Literary Award for Poetry; and To Love as Aswang (Philippine American Writers and Artists, Inc.). She is an adjunct professor at University of San Francisco’s Yuchengco Philippine Studies Program.
ROBERTO TEJADA is the author of Full Foreground (University of Arizona Press 2012); Exposition Park (Wesleyan University Press 2010); Mirrors for Gold (Krupskaya 2006); and Todo en el ahora (Libros Magenta 2015), selected poems translated into Spanish. A visual scholar, he has published National Camera: Photography and Mexico’s Image Environment (University of Minnesota Press 2009), A Ver: Celia Alvarez Muñoz (University of Minnesota Press 2009), and has published on photographers Manuel Álvarez Bravo, Graciela Iturbide, and Luis Gispert, among others. Tejada is the Hugh Roy and Lillie Cranz Cullen Distinguished Professor in the Creative Writing Program at the University of Houston, where he teaches in translation studies and art history as well.
EDWIN TORRES is the author of eight poetry collections, including XoeteoX: the infinite word object (Wave Books), Ameriscopia (University of Arizona Press), Yes Thing No Thing (Roof Books), and The PoPedology Of An Ambient Language (Atelos Books); and he is editor of the anthology The Body In Language (Counterpath Press). A native of New York City, Torres has received fellowships from NYFA, the Foundation for Contemporary Performance Art, and the Poetry Fund, among others. His work is anthologized in Who Will Speak for America?; Angels of the Americlypse: An Anthology of New Latin@ Writing; Post-Modern American Poetry Vol. 2; Kindergarde: Avant-Garde Poems, Plays, Stories, and Songs for Children; and Aloud: Voices from the Nuyorican Poets Cafe.
INDEX
absence, embodied in Kilwein Guevara, 279–80
absurdism: in Hong, 208; in Tejada, 389
acoustic memory in Hume, 223, 229, 232–36
activist poetics: Hedge Coke’s Indigenous, 14, 161–64, 167–68; Reyes’s binaries, 356
aesthetics: Alcalá’s indeterminate, 12, 45–46, 53–54; Blanchfield’s linguistic play, 73; Borzutzky’s grotesque, 110; documentary poetry and, 8; Giménez Smith’s political, 134–37; Hong’s intersectional, 193; Kapil’s colonial, 262–63; Kilwein Guevara’s infrapoetics, 17, 279–80, 283, 289; Perez’s epistemology, 333, 339; poetic activity and, 10–11; Reyes’s world building, 366; spirituality and, 45–46, 53
affect: in Giménez Smith, 134, 137–39, 145; in Hong, 195, 198, 202; in Kilwein Guevara, 279, 281, 289; in Moten, 310; in Torres, 415
affirmative sabotage in Kapil, 256–57, 262–64
against expression in Torres, 423
Agamben, Giorgio, 260–62
Alcalá, Rosa: aesthetics and, 12, 45–46, 53–54; alienation and, 46–54; Cutler’s analysis, 41–54; heritage speaker in, 49–52; immigrant poetics, 12, 45, 49–53; indeterminacy in, 12, 41–43, 54; labor poetics and, 41–54; language in, 12, 43, 48–52; metapoetics and, 51; migration in, 44–45, 48–54; mother figure and, 51–54; overview of work, 12; poetics statement, 39–41; undocumentary poetics and, 9, 44
Alcalá, Rosa, works of: “Allegory of a Girl with Aspirations,” 42; “Autobiography,” 30–31, 41–42; “Cante Grande,” 46; “Class,” 46–47; “Confessional Poem,” 42; “Dear María,” 37–39; “Everybody’s Authenticity,” 29; “A Girl Leaves the Croft,” 12, 42, 47–48; “Heritage Speaker,” 49–52; “How Language Spanks Us,” 48–49; “Inflection,” 46; “Job #6,” 30, 51; “Jobs #3 & 4,” 42; The Lust of Unsentimental Waters, 31–34; “Migration,” 48; MyOTHER TONGUE, 34–39, 49; “National Affair,” 46, 48; “Paramour,” 34–35; “Patria,” 32–34; “Poetics of Not-Mother Tongue,” 49; “Property,” 46; “Rita Hayworth: Double Agent,” 31–32, 46; Undocumentaries, 9, 29–31; “Undocumentary,” 42–45, 51; “Valenti’s Bakery,” 42; “Voice Activation,” 36–37, 52–54
Alcalay, Ammiel, 315
alienation: in Alcalá, 46–54; in Hong, 207–8
Allen, Chadwick, “Resurrecting the Serpent, Reactivating Good Earth: Allison Hedge Coke’s Blood Run,” 14–15, 161–80
Allende, Isabel, 112
allusions: in Alcalá, 50; in Hedge Coke, 164, 168, 180; in Kilwein Guevara, 17, 279, 284–85; in Moten, 308, 310, 314, 317; in Reyes, 357–61
alterity, 3
Altieri, Charles, 283
Álvarez Bravo, Manuel: “The Good Reputation, Sleeping,” 382–83; “Optical Parable,” 380–81; Optical Parables, 380–81
ambient poetics, Torres, 418–21
Ammons, A. R., “The Man on the Dump,” 285
anacoluthon in Blanchfield, 74
anaphora: in Hume, 230; in Kilwein Guevara, 290–91
animals in poetry: in Kapil, 257; in Kilwein Guevara, 291–92
anticolonial critique, Reyes, 359–60
Appalachian Latino poetics. See Kilwein Guevara, Mauricio
Arroyo, Rane, 282
Arteaga, Alfred, 49
Ashbery, John: “At North Farm,” 75; on darkness, 78–79
Asian American poetics, 2, 15. See also Hong, Cathy Park; Kapil, Bhanu; Perez, Craig Santos; Reyes, Barbara Jane
auditory practices. See sound poetics
Austin, J. L., speech-act theory, 16, 227
authenticity: in Borzutzky, 113–14; in Moten, 315–16; in Reyes, 356
autobiographical poetry: in Hedge Coke, 14, 149–53; in Kilwein Guevara, 286–87; in Perez, 19; in Reyes, 19–20
autonomy in Giménez Smith, 140
avant-garde: Alcalá and, 42; Gimenez-Smith and, 14, 133; Hong and, 15, 194, 202–3; Perez and, 7, 18; poets of color and, 6; Reyes and, 360; Tiffany on, 314–15; Torres and, 422–23
Bachelard, Gaston, 224
banishment in Kapil, 260–61
Baraka, Amiri, 192
Barthes, Roland, The Pleasure of the Text, 39
Bataille, Georges: Erotism, 388;Theory of Religion, 386–89
beauty in Tejada, 387–88
Bendall, Molly, “Utter Wilderness: The Poetry of Christine Hume,” 15–16, 223–36
Bergman, David, The Poetry of Disturbance, 385–86
Bernstein, Charles, 7
Berryman, John, “The Ball Poem,” 277–78
Bersani, Leo, 387, 389, 394
biblical themes in Hedge Coke, 164, 168, 175, 178–80
bifocality in Borzutzky, 115
Bishop, Elizabeth: “In the Waiting Room,” 78–79; “The Shampoo,” 230
blackening in Kapil, 16–17
blackness: in Kapil, 258–59; in Moten, 316
black radicalism in Moten, 18, 308, 316
black vernacular poetics, Moten, 315–16
Blanchfield, Brian: Ashbery and, 73, 75, 77–79; Bishop and, 78–79; bodily texts and, 74–76, 79; gay male literary history and, 71–81; Nealon’s analysis, 70–81; overview of work, 12–13; poetics statement, 67–70; poetic time in, 73, 76–81; Schuyler and, 72–73, 76–77; theater and film in, 77–81; transformation in, 70–73; Whitman and, 73, 75–77, 81
Blanchfield, Brian, works of: “According to Herodotus,” 57–58; “And By and By,” 76; “Eclogue in Line to View The Clock by Christian Marclay,” 64, 77; “Eclogue Onto an Idea,” 61, 74–76; “Edge of Water, Moiese, Montana,” 66–67; “Edge of Water, Nimrod Falls, Montana,” 58–59; “Education,” 62–63, 73; “The History of Ideas, 1973-2012,” 62–67, 73, 79; “If the Blank Outcome in Dominoes Adds a Seventh Side to Dice,” 57; Not Even Then, 56–57, 70–73; “One First Try and Then Another,” 56, 70–72; “Open House,” 65–66; “Pferd,” 59–61; A Several World, 57–61, 72–81; “Smalltown Lift,” 81; “Ut Pictura Poesis,” 63–64, 79–81
Blasing, Mutlu Konuk, 50
Blood Run site, Hedge Coke, 161–64, 166–68, 173, 175–80
bodily texts: in Alcalá, 12, 48; in Blanchfield, 74–76, 79; in Giménez Smith, 137–40, 141–42, 144; in Hedge Coke, 171, 173–75; in Hume, 16, 223, 225, 228, 232, 235; in Kapil, 16, 255–56, 259, 261; in Kilwein Guevara, 279–80; in Perez, 337–38; in Reyes, 365–66; in Tejada, 20, 383–95; in Torres, 426
Bolaño, Roberto: exiles and, 108; “First Infrarealist Manifesto,” 135
boomtowns in Hong, 205–9
Borzutzky, Daniel: biographical details, 113–14; Chilean history in, 108–12; diasporic poetics and, 107–15; Dorfman and, 112; Dykstra’s analysis, 106–18; feedback loops in, 115–16; identity and, 113–15; inter-genre in, 106–18; Jara and, 116–17; landscape in, 111; overview of work, 13; poetics statement, 103–5; resistance and, 117–18; Rulfo and, 107–8; sentences and, 13, 106, 109–10, 115; transnational poetics and, 107–18; violence in, 5, 13, 108–12, 116–17
Borzutzky, Daniel, works of: Arbitrary Tales, 106; “The Book of Interfering Bodies,” 84–85, 110–11; The Book of Interfering Bodies, 84–85, 103–4, 106, 110–11; “Decomposition as Explanation,” 86–89; “Illinois,” 89–94, 116–17; “Let Light Shine Out of Darkness,” 13, 95–97; Memories of My Overdevelopment, 115–16, 117–18; “Murmur 1,” 115–16; In the Murmurs of the Rotten Carcass Economy, 86–94, 108, 116; “The Performance of Becoming Human,” 97–102, 115; The Performance of Becoming Human, 95–102, 106
Boston Review (magazine), 314–15
boundary 2 (journal), 7
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