American Poets in the 21st Century
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Bowers, Neal, 231
Boyer, Anne, Garments Against Women, 10
Bracho, Ricardo, 133
Bradstreet, Anne, 141
Brathwaite, Kamau, 193
bullshitting in Kilwein Guevara, 287–89
bureaucratic eroticism in Tejada, 390
Burt, Stephanie, 290
Butler, Judith, 393
caesura: in Kilwein Guevara, 287; in Perez, 335–36
Cajete, Gregory, 169, 171–72, 175, 180
Calvino, Italo, Invisible Cities, 207
capitalism in Kilwein Guevara, 284
catechism in Hume, 228
Chakrabarty, Dipesh, 255
Chamorro culture in Perez, 18–19, 329, 332–39
Chilean history in Borzutzky, 108–12, 116–17
Christian, Barbara, 316
circuitry in Hume, 223
citational practice in Reyes, 357–58
clarity: in Alcalá, 53; Bishop and, 78–79; Kapil and, 261; in Kilwein Guevara, 17, 289; Torres and, 422; undocumentary poetics and, 9
class: diction and, 314–16; and ecopoetics in Torres, 419–21; and labor in Alcalá, 42–54
Clay, Jon, 392–93
collaboration: in Hume, 235; in Torres, 425
collectivity: in Moten, 307, 313–14; in Perez, 337
Colombian history, Kilwein Guevara, 282, 289–90
Colón, David, “Marginal Erotics: Roberto Tejada’s Sexiness,” 20, 380–95
colonialism in Perez, 332–39
colonial poetries: Kapil and, 262–63; Reyes and, 356–66
composite titles in Moten, 311
compound word constructions in Hume, 231
conceptual poetics: in Giménez Smith, 140; in Hedge Coke, 15, 168, 170; in Hong, 4, 202–3; in Kilwein Guevara, 279; overview, 1–2, 7; in Torres, 20, 414, 419, 423
Condominas, Georges, 332
confessional poetry, Hong, 198–99, 204–5
Conrad, Joseph, Heart of Darkness, 359–60
corporeality. See bodily texts
creative nonpoetry, 8–9
cultural politics in Kapil, 258–59
Cunningham, Paul, 117
Cutler, John Alba, “Rosa Alcalá’s Aesthetics of Alienation,” 12, 41–54
cyborg in Kapil, 251–54
Daly, Catherine, 229–30
Damon, Maria, 10
dark humor in Borzutzky, 110
darkness: in Blanchfield, 74, 77–80; in Giménez Smith, 141; in Kilwein Guevara, 283
deferral of meaning in Tejada, 385
DeGuzmán, María, Buenas Noches, American Culture, 281–82, 285
Deleuze, Gilles: on origins, 136; on territorialization, 226; A Thousand Plateaus, 134; womb and, 140
Derrida, Jacques, 47
diablura (raucous play) in Giménez Smith, 13–14, 133
dialects: in Hong, 192, 194–95, 201, 203; in Moten, 316
dialogue in Tejada, 384
diasporic poetics: Borzutzky’s Chile, 107–15; Perez’s Chamorro, 333–34, 338; Reyes’s Filipino, 358, 363, 366; Torres’s Puerto Rico, 416, 418–23
diasporous poetics, Torres, 7–8, 416–20
Dickinson, Emily, 12, 67–69, 141–43
diction: avant-garde and, 314–15; Tejada’s erotic, 383, 393
digital poetics in Torres, 420–21
disjunction: in Hume, 223–24; in Kapil, 16; in Kilwein Guevara, 17, 280–81, 286, 291; in Tejada, 20, 384; in Torres, 418
disorientation: in Blanchfield, 75; in Kilwein Guevara, 280; in Tejada, 385
documentary poetics: Alcalá’s, 43–45; Nowak on, 8; Perez’s, 19
Donovan, Thom, 308–10, 313
Dorfman, Ariel, Death and the Maiden, 112
Dowdy, Michael: “Mauricio Kilwein Guevara’s Scavenger Infrapoetics,” 17, 279–92; on neoliberalism, 42
Duras, Marguerite, 116
Dykstra, Kristin, “Pardon Me Mr. Borzutzky / If,” 13, 106–18
dystopic poetry, Borzutzky, 13, 110–11
earthworks poetics, Hedge Coke, 161–80; aerial photography of, 165–66; Blood Run site, 161–64, 166–68, 173, 175–80; defined, 164; examples of, 164–65; Indigenous aesthetics and, 162–63; intruding personas in, 178–80; perception and, 170; renewal and, 162–63, 173–77, 180; Serpent Mound site and, 171–72; siting, sighting, citing, 169–70, 174; thematic geometry and, 163–64, 167–69, 173–80
eaten alive in Kapil, 254–57, 262–64
ecopoetics: in Kilwein Guevara, 286; in Torres, 420–21
Edwards, Brent Hayes, “Sounding the Open Secret: The Poetics of Fred Moten,” 18, 306–18
ekphrastic poetry: Tejada’s, 384; Torres’s, 424
Ellison, Ralph, 316
enjambments: in Alcalá, 43, 49; in Borzutzky, 106, 115–16; in Kilwein Guevara, 280; in Moten, 17
Eno, Brian, Taking Tiger Mountain (By Strategy), 420
epistemology: in Kapil, 258; of loss in Kilwein Guevara, 17, 280; of water in Perez, 19, 333, 336, 338–39
erasure: colonial, in Hedge Coke, 164; racial, in Hong, 203
erotic poetics: in Alcalá, 48; Reyes, 362–66; Tejada, 20, 380–95
errorism, Giménez Smith, 137
ethics: in Borzutzky, 13, 103–4, 110; in Perez, 339; in Tejada, 393
exaggeration in Borzutzky, 111
exile in Borzutzky, 108–9, 112–14
experimental poetics: Hong and, 203–4; Moten and, 309, 317; Reyes and, 355–56, 360–61; Torres and, 413, 417, 419, 422–23, 425
expressive poetics: in Hedge Coke, 163–64; in Hume, 226; in Torres, 423
failure: Giménez Smith and, 138; social engagement and, 11
feedback loops in Borzutzky, 115–16
female body. See bodily texts
feminist poetics: Giménez Smith’s mother, 134–38; Hong’s speculative, 200; Reyes’s myth, 359, 362–66
feral novel, Kapil, 262–64
figurative voices in Reyes, 364
Filipina poetics, Reyes, 355–66
form, poetic, 9–10. See also narrative poetics
free play in Hume, 229
Fromm, Erich, 389
frontier trope: in Hong, 15, 201–2; in Hume, 223, 224
Fuentes, Marlon, Bontoc Eulogy, 357–58
fugitive poetics, Moten, 18, 308, 312–13
Galeano, Eduardo, “The Night/1,” 365
García Lorca, Federico, Poeta en Nueva York, 19, 359
gay male literary history in Blanchfield, 71–81
gender: Alcalá’s indeterminacy, 42–43; Giménez Smith’s mother, 141–42; and labor in Alcalá, 12, 47–48, 51; roles of in Reyes, 362–66
Geronimo, His Own Story, 357
gestation in Giménez Smith, 142–44
Ghigliotto, Galo, Valdivia, 111
Gilbert, Jack, 288
Giménez Smith, Carmen: Dickinson and, 142–43; feminist poetics and, 134–38; lyric in, 14, 132–33, 135, 141–46; McSweeney’s analysis, 134–46; Mendieta and, 137–41; mirroring in, 136–37, 144; mother-daughter relationship in, 134, 136, 142–45; mother figure and, 134–36; overview of work, 13–14; paradox in, 134–35, 137–38, 144–46; poetics statement, 132–33; reversal in, 140–44; twinship and, 137, 139–41, 143; vulnerability in, 138; womb and, 134, 136–37, 140–44
Giménez Smith, Carmen, works of: “(And the Mouth Lies Open),” 125; Be Recorder, 128–32, 133, 145–46; Bring Down the Little Birds, 135, 142–45; The City She Was, 135; “A Devil Inside Me (after Ana Mendieta),” 139–41; “Finding the Lark,” 141–42; “Gender Fables,” 141; Goodbye, Flicker, 123–24, 141; “Hans Hated Girls,” 123–24; “Hungry Office,” 123; “(Llorona Soliloquy),” 124; Milk & Filth, 124–27, 132–33, 135–42; Odalisque in Pieces, 122, 141; “Parts of an Autobiography,” 126–27, 135–38; “Prepartum,” 122; “Vita,” 135
Glissant, Édouard: on monolingualism, 317; Poetics of Relation, 11, 21, 41
global culture in Tejada, 387–92
globalization in Hong, 15
Glomski, Chris, 223
Göransson, Johannes, 7
Gordon, Lewis, 258
Gray, Jeffrey, 4–5
Gruesz, Kirsten Silva, 290
Guam in Perez, 18–19, 329–39
Guattari, Felix: on origins, 136; on territorialization, 226; A Thousand Plateaus, 134; womb and, 140
Guerra, Libertad, 418
Hall, Stuart, 363
Haraway, Donna: “A Manifesto for Cyborgs,” 193, 252; on speculation, 200
Harrington, Joseph, 8–9
Harvey, David, 46
Hau’ofa, Epili, 333–34
Hedge Coke, Allison Adelle: activist poetics and, 14, 161–64, 167–68; Allen’s analysis, 161–80; autobiographical poetry in, 14, 149–53; biblical themes in, 164, 168, 175, 178–80; earthwork sites and, 164–66; Indigenous poetics and, 14–15, 161–80; intruding personas in, 178–80; narrative poetics and, 162–64, 175–77, 180; overview of work, 14; persona poems in, 163–64, 166–68, 170–80; poetics statement, 158–60; renewal in, 162–63, 173–77, 180; siting, sighting, citing, 169–70. See also earthworks poetics
Hedge Coke, Allison Adelle, works of: “America, I Sing You Back,” 157–58; “Before Next Dawning,” 175–76; Blood Run, 154–56, 161–63, 167–80; “Blue Star,” 172; “The Change,” 149–53; “Clan Sister,” 176–77; “Esoterica,” 177; “Ghosts,” 154–55; “Moon,” 172; “The Mounds,” 173; “North Star,” 172; Off-Season City Pipe, 149–53; “Skeletons,” 154, 155–56; “Snake Mound,” 164, 168, 170–76; “Squatters,” 178; “Stone Snake Effigy,” 164, 168, 178–80; Streaming, 156–58; “We Were in a World,” 156–57; “When the Animals Leave This Place,” 177
Hejinian, Lyn, 201, 206
heritage speaker in Alcalá, 49–52
Herrera, Juan Felipe, 2, 4, 9, 50, 290–91
Hirschhorn, Thomas, Gramsci Monument, 314
Hong, Cathy Park: avant-garde and, 15, 194, 202–3; boomtowns in, 205–9; confessional poetics and, 198–99, 204–5; experimental poetics and, 203–4; frontier trope in, 15, 201–2; identity poetics and, 202–3; lyric “I” and, 196–97, 200; lyric in, 195–96, 201; naming in, 209; narrative poetics and, 15, 196; overview of work, 15; Pafunda’s analysis, 194–209; poetics statement, 192–93; and Rich, 201; slang in, 197–98; social engagement in, 194; speculative poetics and, 194–209; world building in, 195–96, 198–200, 205–8
Hong, Cathy Park, works of: “1. Services,” from “St. Petersburg Hotel” series, 185–86; “Ballad in A,” 189; “Ballad in O,” 188; Dance Dance Revolution, 184–88, 199–201, 204, 209; “Delusions of Whiteness in the Avant-Garde,” 203; Engine Empire, 15, 188–91, 205–9; “Market Forces Are Brighter Than the Sun,” 189–90; “Notorious,” 190–91; “On Splitting,” 196–97; “Rite of Passage,” 199; “Roles,” 184–85; “Song That Breaks the World Record,” 186–88; “There’s a New Movement in American Poetry and It’s Not Kenneth Goldsmith,” 4–6, 203; Translating Mo’um, 193, 196–99, 209
Hughes, Ted, “Examination at the Womb Door,” 228
Hume, Christine: acoustic memory in, 223, 229, 232–36; Bendall’s analysis, 223–36; humming in, 220–23, 226, 235–36; lullaby and, 232–36; narrative poetics and, 223, 227–28; overview of work, 15–16, 223; poetics statement, 220–22; schooling devices in, 223, 224–28; sound poetics and, 16, 220–22, 223, 225–36
Hume, Christine, works of: Alaskaphrenia, 214–17, 224, 229, 233; “A Million Futures of Late,” 213–14, 226; “Apnea,” 234–35; “Car Interior Reinventing You and Her as the Predictable and the Undetermined,” 227–28; “Comprehension Questions,” 214–15, 224; “Day Tour of Your Glorious Birds,” 225; “Dos and Don’ts about Fur,” 225; Hum, 235–36; “Hume’s Suicide of the External World,” 215–17; “I Exhume Myself,” 217–19, 235; “Incubatory,” 228; “Induction,” 219–20; “Interlude,” 234; “Interview,” 228; “Leash,” 231; “Lost on the Horizon,” 225; Lullaby: Speculations on the First Active Sense, 232; Musca Domestica, 213–14, 223, 225–26, 228; “Night in Ypsilanti,” 226–27; “On Floating Bodies,” 229; “Reversal of Fortune,” 227–28; “Self-Stalked,” 230; Shot, 217–20, 226, 228, 230, 234; Ventifacts, 233–34
humming, in Hume, 220–23, 226, 235–36
hybridization: in Alcalá, 49; in Borzutzky, 106–7, 109
hypersexualization in Reyes, 20, 360
identity: in Borzutzky, 113–15; in Hume, 223, 228; in Torres, 415–16, 425–26
identity poetics: in Hong, 202–3; in Kilwein Guevara, 286–87
identity politics, 5–6, 20, 193, 195, 356, 417, 419
“I.E.” concept, Torres, 414
immigrant poetics: in Alcalá, 12, 45, 49–53; in Giménez Smith, 14, 132–33; in Kapil, 16–17, 248–49, 252–54, 260–62; in Kilwein Guevara, 17, 276–77, 279, 281, 285–87, 290; in Torres, 418–19
imperial language: in Giménez Smith, 134; in Kapil, 263
impersonality, Reyes’s poetics of, 358
indeterminacy: in Alcalá, 12, 41–43, 54; Perez on, 330; in Tejada, 385
Indigenous poetics: in Hedge Coke, 14–15, 161–80; in Reyes, 362–66
infrapoetics. See scavenger infrapoetics
institutional critique in Kapil, 254–55
institutionalized racism in Kapil, 256–57
institutional rupture in Kapil, 251, 254–57
instructions in Hume, 225
interarticulation in Moten, 309
inter-genre in Borzutzky, 106–18
interrogatives in Hume, 224
intersectional aesthetic in Hong, 193
intertextuality in Blanchfield, 77
intruding personas in Hedge Coke, 178–80
invitations in Hume, 226–27
Jara, Víctor, 116–17
Jobin, Antônio Carlos, “Aguas De Março,” 317–18
Johnson, James Weldon, 316
juxtapositions: in Blanchfield, 72, 77, 80; in Giménez Smith, 146; in Hedge Coke, 162; in Kilwein Guevara, 290; in Tejada, 388
Kane, John, 288
Kapil, Bhanu: affirmative sabotage in, 256–57, 262–64; Black solidarity and, 252, 257–59; colonial poetries and, 262–63; immigrant poetics and, 16–17, 248–49, 252–54, 260–62; institutional critique and, 254–55; institutional rupture in, 251, 254–57; Kim’s analysis, 251–64; monster form and cyborgs in, 251–54; myth and, 257; narrative time and, 221; novel and, 262–64; overview of work, 16–17, 251–52; performance of no, 251, 254–57, 262–64; perpetual writing in, 251, 260–62; poetics statement, 248–50
Kapil, Bhanu, works of: Ban en Banlieue, 247–48, 249–50, 251, 253, 255, 257–58, 260–62, 263–64; “Butcher Block Appendix,” 258; Humanimal, a Project for Future Children, 243–45, 255–57; Incubation: A Space for Monsters, 239–43, 252, 256–57; Schizophrene, 246, 249, 253–54; The Vertical Interrogation of Strangers, 238–39; The Vortex of Formidable Sparkles (blog), 251
Keene, John, Counternarratives, 195
Kelly, Patrick William, 109
Keniston, Ann, 4–5
Kilwein Guevara, Mauricio: affect in, 279, 281, 289; anaphora in, 290–91; animals and, 291–92; autobiographical poetry in, 286–87; bullshitting in, 287–89; disorientation in, 280; Dowdy’s analysis, 279–92; embodied absence in, 279–80; epistemology of loss in, 17, 280; identity poetics and, 286–87; metanarrative prose poems in, 281; metonymy in, 280, 285–86; narrative poetics and, 17, 281, 286–88; overview of work, 17, 279; poema concept, 17, 278, 279, 281, 285, 291–92; poetics statement, 276–78; prose poetry of, 17, 279–86; scale in, 285–86, 289–90; scavenger infrapoetics and, 283–92; subjectivity and, 279, 281–83; and Varo, 284–85
Kilwein Guevara, Mauricio, works of: “Against Metaphor,” 272–73; “The American Flag,” 272; “At rest,” 273–74; Autobiography of So-and-so: Poems in Prose, 270–72, 281, 283, 285–87; “A City Prophet Talks to God on the 56C to Hazelwood,” 268–69; “Clearing Customs,” 289; “The Easter Revolt Painted on a Tablespoon,” 269–70, 289–90; “From the Carib Word Mahiz,” 291; “Hector the Colombian Who Butchered the Hair of
Juan Ramón,” 288–89; “Joan Brossa as the Emerald Moth Discharging Energy,” 290–91; “Mirror, Mirror,” 271; “Pepenador de palabras,” 275, 282–85; POEMA, 272–76, 279–82, 287, 290–91; “Poema without hands,” 275–76; Poems of the River Spirit, 268–70, 281, 283; Postmortem, 267–68, 279–81, 283, 287, 292; “Postmortem,” 267–68, 279–83; “The River Spirits,” 283; “Self-Portrait,” 270, 283; “A Tongue Is a Rope Bridge,” 271–72; “The Young Beast in Spring,” 287
Kim, Eunsong, “Perpetual Writing, Institutional Rupture, and the Performance of No: The Poetics of Bhanu Kapil,” 16–17, 251–64
Kinney, Alison, “Hostages,” 197
Kopple, Barbara, American Dreams, 43–45
Kristeva, Julia, 195, 198, 201–2, 209, 233
labor poetics in Alcalá, 41–54
Lai, Paul, 9
landscape in Borzutzky, 111
language: Alcalá’s alienation, 12, 43, 48–52; Borzutzky’s diasporic rhetoric, 108–13; Hong’s speculative poetics, 194–98, 200–203, 206–9; Hume’s sound poetics, 225–27, 229, 232–33; Kapil’s immigrant poetics, 253–57, 260–62; Moten’s experimental, 316–18; Tejada’s erotic poetics, 383–86; as territory in Torres, 414, 419–20
Language poetries, 3–4
Latina/o/x poetics. See Alcalá, Rosa; Borzutzky, Daniel; Giménez Smith, Carmen; Kilwein Guevara, Mauricio; Tejada, Roberto; Torres, Edwin
Levitt, Peggy, 114
libidinal politics, Tejada, 384
Lowe, Lisa: on colonial language, 262–63; Immigrant Acts: On Asian American Cultural Politics, 17, 252–53
lullaby in Hume, 232–36
Lundy Martin, Dawn, 7, 11
lyric: in Alcalá, 9, 44–45, 53; in Giménez Smith, 14, 132–33, 135, 141–46; in Hong, 195–96, 201; in Hume, 223, 229–30, 233, 235; in Kilwein Guevara, 17, 278, 279, 281, 283, 289, 291; versus Language poetries, 3–4; in Moten, 308–9; in Reyes, 14; in Tejada, 391; in Torres, 20–21, 416–17, 421–24
lyric “I” in Hong, 196–97, 200. See also subjectivity
Mackey, Nathaniel, “Other: From Nation to Verb,” 192–93
Mallarmé, Stéphane, “Un coup de Dés jamais n’abolira le Hasard,” 51–52
marginal erotics in Tejada, 20, 383–84, 386, 389, 393
Martinez, J. Michael, “Tidal Poetics: The Poetry of Craig Santos Perez,” 19, 332–39
Martínez Pompa, Paul, 113
Marxism, 46, 51, 53, 315
masculinity: in Tejada, 393; in Torres, 415–16