Mayer, Bernadette, 50–51
McAlear, Rob, 117
McHugh, Heather, 223
McSweeney, Joyelle, “’The Call for Reversal is Native’: The Paradox of the Mother Tongue in the Work of Carmen Giménez Smith,” 14, 134–46
media-character of poetry in Blanchfield, 79
media ecology, Torres, 414, 417–18, 420
memoir, lyric, in Giménez Smith, 142
memory: in Alcalá, 9, 43; in Borzutzky, 107, 109, 115; diasporic, 107, 109, 115, 415; in Giménez Smith, 144; in Hume, 223, 224, 229, 232–36; in Kapil, 257–59, 262; in Kilwein Guevara, 281; in Tejada, 392; in Torres, 415
Mendieta, Ana, 137–40
metanarrative prose poems in Kilwein Guevara, 281
metapoetics in Alcalá, 51
metonymy: in Alcalá, 43–45; in Kilwein Guevara, 280, 285–86; in Tejada, 393
migration: in Alcalá, 12, 41–42, 44–45, 48–54; in Hong, 15; in Kapil, 254–55; in Reyes, 358, 362
Minh-Ha, Trinh T.: on clarity, 261; on immigrant poetics, 254; on the novel, 263; Woman Native Other, 357
mirroring, in Giménez Smith, 136–37, 144
modernity: Kapil and, 253; Reyes and, 356
monster form in Kapil, 16, 251–54
Morton, Timothy, Ecology without Nature, 421
Moten, Fred: authenticity in, 315–16; black radical tradition, 18, 308, 316; black vernacular poetics and, 315–16; Edwards’s analysis, 306–18; experimental linguistics and, 316–17; fugitive poetics and, 18, 308, 312–13; interarticulation in, 309; Jobin and, 317–18; musical poetics and, 18, 307–10; naming in, 17, 308, 311–13; overview of work, 17–18, 306–7; poetics statement, 306; on poets of color, 203; proper nouns in, 17, 312–13; prose poetry and, 310; scholarship and, 308–9; Tiffany and, 314–16; transmutation and, 309–10; vanguardism in, 315
Moten, Fred, works of: “barbara lee,” 307–8, 317; B Jenkins, 297–300, 308–13, 317; “b jenkins,” 311; “block chapel,” 300–301; In the Break: The Aesthetics of the Black Radical Tradition, 308; The Feel Trio, 300–302, 307, 310, 312, 316; “five points, ten points,” 296–97; “frank ramsay/nancy wilson,” 299–300, 310; “gayl jones,” 297–98; “the gramsci monument,” 303–4, 314; Hughson’s Tavern, 295–97, 310; “I ran from it and was still in it, 301–2; “it’s not that I want to say,” 304–5; The Little Edges, 303–4, 314, 317; “Metoike,” 17–18; “Rock the party, fuck the smackdown,” 295; The Service Porch, 304–5; “where the blues began,” 310; “william parker/fred mcdowell,” 298–99
mother-daughter relationship: in Alcalá, 51; in Giménez Smith, 134, 136, 142–45
mother figure: in Alcalá, 51–54; in Giménez Smith, 134–46; in Hume, 223, 226, 228, 232–36
mother tongue: in Alcalá, 12, 39–40, 49–50; in Giménez Smith, 14, 134–35, 143–44; in Hong, 15, 198, 209; in Hume, 16, 232
multilingualism: in Alcalá, 49; Glissant on, 11; in Reyes, 359; Torres and, 418–19
Muñoz, José Esteban, 133, 317
Murguía, Alejandro, “16th & Valencia,” 14, 360
music: Hong on, 192–93; in Hume, 232; in Moten, 18, 307–10, 313; in Tejada, 391–92; in Torres, 420–21. See also sound poetics
myth: Kapil’s animal, 257; Reyes’s Diwata, 359, 362–66
names: in Blanchfield, 68; in Giménez Smith, 136; in Kilwein Guevara, 284
naming: in Hong, 209; in Moten, 17, 308, 311–13
narrative poetics: in Blanchfield, 13, 74, 76, 78–81; in Borzutzky, 106; in Hedge Coke, 162–64, 175–77, 180; in Hong, 15, 196; in Hume, 223, 227–28; in Kapil, 254–56, 260–61, 263; in Kilwein Guevara, 17, 281, 286–88; in Torres, 415–16, 423
narrative time in Kapil, 16, 249
Nealon, Chris, “In the Dark with Brian Blanchfield,” 12–13, 70–81
necessity in Giménez Smith, 135, 138
neoliberalism: Alcalá and, 42, 44, 51, 53; Borzutzky and, 109, 116–17; Kilwein Guevara and, 282, 287–88
The News from Poems: Essays on the 21st-Century American Poetry of Engagement (Gray and Keniston), 4–5
nobodying in Kilwein Guevara, 287
Nobody’s Business: Twenty-First Century Avant-Garde Poetics (Reed), 3
Noel, Urayoán: “The Us is Porous: Edwin Torres in Other Words,” 20–21, 413–26; In Visible Movement: Nuyorican Poetry from the Sixties to Slam (Noel), 6
noise and silence in Torres, 420–22. See also sound poetics
nostalgia in Borzutzky, 113–14
Notley, Alice, 7
novel, feral, Kapil, 262–64
Nowak, Mark: on documentary poetics, 8, 19; Shut Up Shut Down, 288
Nuyorican poetic tradition in Torres, 20, 413–14, 425
obscurity: in Kapil, 261; in Moten, 308–9
Odio, Eunice, 283
Olson, Charles, 18, 332–33, 337
ontic, Perez, 332, 336–37
opacity: in Moten, 307; in Reyes, 19, 359, 361
origin stories in Reyes, 356, 363–64
Pacheco, José Emilio, 292
Pafunda, Danielle, “Building Inheritance: Cathy Park Hong’s Social engagement in the Speculative Age,” 15, 194–209
paradox: Alcalá and, 50; Giménez Smith and, 134–35, 137–38, 144–46; Hume on, 16, 220–21; Torres and, 422–23, 425
parataxis: in Alcalá, 46–47; in Kilwein Guevara, 286; poetic activity and, 10
paronomasia in Alcalá, 43, 45, 48–49
Parra, Nicanor, 106–7
Peach, Blair, 248–49, 260
Pels, Peter, 332–33
perception: in Hedge Coke, 170; in Perez, 333–34, 336, 338–39
Perez, Craig Santos: Chamorro in, 18–19, 329, 332–39; colonialism in, 332–39; diasporic poetics and, 333–34, 338; epistemology in, 19, 333, 336, 338–39; Martinez’s analysis, 332–39; Olson and, 332–33; overview of work, 18–19, 332; poetics statement, 329–31; prepositions in, 335–36, 338–39; préterrain and, 19, 332–33, 336–37; self in, 336–38; serial poems and, 332–39; tidal poetics and, 19, 332–39; water in, 334–35, 337–39
Perez, Craig Santos, works of: “from aerial roots,” 321–26, 327–28; “ginen aerial roots,” 337–38; “ginen aerial roots,” 326–27, 328–29, 337–38; from unincorporated territory [hacha], 9, 335–36; from unincorporated territory [saina], 321–29, 330–31, 332–39
Pérez Firmat, Gustavo, 40
performance: Alcalá and, 52; Hong and, 203; Hume and, 16, 228, 233, 235; Kapil and, 252–53; Torres and, 414, 417, 425–26
performance of no, Kapil, 251, 254–57, 262–64
performative spelling in Torres, 422
Perloff, Marjorie, 202–3
perpetual writing in Kapil, 251, 260–62
persona poems, Hedge Coke, 163–64, 166–68, 170–80
personification in Reyes, 365–66
phonemes in Blanchfield, 79–80
photography: aerial, of earthworks, 165–66; Tejada’s curation of, 380–83
pidgin in Hong, 197, 201, 203, 205, 209
Pinay poetics, Reyes, 19, 355–66
poema concept, Kilwein Guevara, 17, 278, 279, 281, 285, 291–92
poetic activity, 10–11
poetic time in Blanchfield, 73, 76–81
Ponce, Martin Joseph, “Acts of Poetry in Troubled Times: Barbara Jane Reyes’s Anticolonial Feminist Voicings,” 355–66
populatedness in Moten, 311
porous poetics, Torres, 20–21, 413–26
postmodernism: in Hong, 195–96; in Kapil, 253; in Torres, 417
prepositions: in Alcalá, 43; in Blanchfield, 74–76; in Perez, 335–36, 338–39
préterrain, Perez, 19, 332–33, 336–37
privatization in Borzutzky, 117
project concept, Moten, 314
proper nouns in Moten, 17, 312–13
prose poetry: in Alcalá, 45–46, 52; in Borzutzky, 106; in Giménez Smith, 14, 135; in Hong, 10, 204; in Hume, 223, 230; in Kapil, 3–4, 251, 256–57, 260–63; in Kilwein Guevara, 17, 279–86; in Moten, 310; overview, 9�
�10; in Reyes, 363; in Tejada, 386–90
prosodic features in Hume, 230–31
psyche: in Hume, 231–32; in Tejada, 387, 390–91, 393–94
Puerto Rican diaspora, Torres, 415–16, 418–23
queer poetics, Blanchfield, 12–13, 71, 77–78, 80
question/answer format in Hume, 228
race: in Hong, 4, 203; in Kapil, 253–57; in Moten, 315–16; social engagement and, 1–2, 6–7
radical singularity in Moten, 313
Reed, Anthony, Freedom Time: The Poetics and Politics of Black Experimental Writing, 6
Reed, Brian M., 3
references in Moten, 311–12
relationality in Moten, 311
renewal in Hedge Coke, 162–63, 173–77, 180
repetition, 13, 109–10, 168–69, 204, 226–27
resistance: in Alcalá, 42, 48; in Borzutzky, 117–18; in Giménez Smith, 140; in Hong, 198; in Kapil, 256; in Moten, 308; in Perez, 334
reversal: in Blanchfield, 72–73; in Giménez Smith, 140–44
rewilding in Kapil, 252, 257, 263–64
Reyes, Barbara Jane: allusions in, 357–61; anticolonial critique and, 359; bodily texts and, 365–66; citational practice in, 357–58; colonial poetries and, 356–66; diasporic poetics and, 358, 363, 366; erotic poetics and, 362–66; feminist poetics and, 359, 362–66; Filipina poetics and, 355–66; gender roles in, 362–66; Indigenous poetics and, 362–66; myth in, 359, 362–66; origin stories in, 356, 363–64; overview of work, 19–20, 355–56; personification in, 365–66; Pinay poetics and, 19, 355–66; poetics statement, 353–55; Ponce’s analysis, 355–66; sexuality in, 360–62
Reyes, Barbara Jane, works of: “Anthropologic,” 357–58; “Aswang,” 352, 364; “[ave maria],” 346; “(a zhe fil),” 347–48; “The Bamboo’s Insomnia,” 348, 364–66; “The Building of ‘Anthropologic,’” 358; “Call It Talisman (If You Must),” 363–64; Diwata, 348–52, 362–65; “Diwata,” 363; “The Fire, Around Which We All Gather,” 364; “[galleon prayer],” 345; “A Genesis of We, Cleaved,” 364–65; Gravities of Center, 357, 359; “In the City, a New Congregation Finds Her,” 351–52, 364; “[Kumintang],” 343; “[objet d’art: exhibition of beauty in art loft victorian claw tub],” 342; Poeta en San Francisco, 19–20, 342–48, 358–62, 365–66; “Polyglot Incantation,” 349; “[prayer to san francisco de asís],” 346; “The Villagers Sing of the Woman Who Becomes a Wave Who Becomes the Water Who Becomes the Wind,” 350; “[why choose pilipinas?],” 343–44; “[why choose pilipinas, remix],” 344
rhetoric in Borzutzky, 108–9, 111, 113
rhythmic devices in Hume’s lullabies, 226–27, 232–36
Rich, Adrienne, 201, 281
Riding, Laura, “Memories of Mortalities,” 68
Rizal, José, 357
Roethke, Theodore, Praise to the End!, 231
Romain, William, 166, 171
Romantic Constructivism, Torres, 422–25
Rombauer, Irma S., The Joy of Cooking, 388–89
Rowell, Charles, 308–9
Ruddick, Lisa, 229
Rulfo, Juan, Pedro Páramo, 107–8
rupture: in Alcalá, 44–45; in Kapil, 251, 253, 254–57, 260, 263; in Moten, 308
Rushdie, Salman, 357
Russian Futurists in Torres, 418–19
Said, Edward, Culture and Imperialism, 357
Salemink, Oscar, 332–33
Santayana, George, 40
scale: in Giménez Smith, 146; in Kilwein Guevara, 285–86, 289–90; in Tejada, 20
scavenger infrapoetics, Kilwein Guevara, 283–92
scholarship, Moten, 308–9
schooling devices in Hume, 223, 224–28
Schuyler, James, “Freely Espousing,” 72
science of Indigenous poetics, Hedge Coke, 164, 166, 169, 180
Scott, David, 314
Scott, James C., 283
self: in Blanchfield, 68–69, 78–79; in Hong, 195–96, 206; in Hume, 16, 230, 235; in Perez, 336–38; in Reyes, 355–56; in Tejada, 392–94; in Torres, 423–26
sensual imagery in Alcalá, 45–46
sensualism in Kilwein Guevara, 285, 291
sentences: Alcalá and, 43–47; Blanchfield and, 71, 76–77; Borzutzky and, 13, 106, 109–10, 115; Giménez Smith and, 136–37; Kapil and, 3–4, 16, 260–62; Kapil on, 250–51; Kilwein Guevara and, 284; overview, 9–10. See also narrative poetics
serial poems, Perez, 332–39
Serpent Mound site, Hedge Coke, 171–72
Sexton, Jared, “Ante-Anti Blackness: Afterthoughts,” 258–59
sexuality: in Alcalá, 48; in Reyes, 360–62; in Tejada, 20, 383–86, 388–89, 392–94
Shakespeare, William, “Sonnet 130,” 48
Shaw, Lytle: on conceptual poetry, 4; Fieldworks: From Place to Site in Postwar Poetics, 1
Shepp, Archie, Fire Music, 310
Silliman, Ron, 3–4
Silverman, Kaja, 232, 384, 391–92
Skinner, Jonathan, 286
slang in Hong, 197–98
Smith, Bessie, 313
social engagement, 1–21. See also individual poets
solidarity: in Blanchfield, 72; in Borzutzky, 108–9, 118; in Kapil, 252, 257–59
sonic devices in Hume, 230
sound poetics: in Blanchfield, 80; in Hume, 16, 220–22, 223, 225–36; Kapil on, 249–50; in Moten, 307–10; in Tejada, 391–92; Tejada on, 378–80; in Torres, 418–20, 425
Spahr, Juliana, 1–2
spatiotemporal in Kilwein Guevara, 281, 290
speculative poetics, Hong, 194–209
spirituality: in Alcalá, 45–46, 53; in Hedge Coke, 161, 164–65, 167, 169, 171–72, 174–77; in Hong, 202; in Perez, 334
Spivak, Gayatri, 256
spoken word, Torres, 421, 424
stability in Hume, 224
Stein, Gertrude, 229
stereotypes in Borzutzky, 115
Stevens, Wallace, 79
subaltern, Kilwein Guevara, 282–83, 290
subjectivity: Alcalá’s alienation, 50; Hume’s mother, 233; Kilwein Guevara’s infrapoetics, 281–83; Kilwein Guevara’s lyric, 279; Perez’s ontic, 336–37; Tejada’s erotic, 389–91
symbolism: in Alcalá, 52; in Borzutzky, 117; in Hedge Coke, 169–71, 178; in Hong, 198, 202; in Kapil, 253–54; in Kilwein Guevara, 279, 282, 292; in Reyes, 363; in Tejada, 384, 387, 389
synaesthesias in Torres, 424–25
syntax: in Alcalá, 43–44; biblical in Hedge Coke, 175, 179; and colonization in Perez, 335; of deferral in Tejada, 385; in Kapil, 16, 249, 261; and opacity in Reyes, 359
Tejada, Roberto: Bataille and, 386–89, 394; bodily texts and, 20, 383–95; Bravo and, 380–83; Colón’s analysis, 380–95; deferral of meaning in, 385; erotic poetics, 20, 380–95; exhibition curation, 380–83; global culture and, 387–92; indeterminacy in, 385; marginal erotics, 383–84, 386, 389, 393; overview of work, 20; photography and, 380–83; poetics statement, 378–80; prose poetry and, 386–90; psyche in, 387, 390–91, 393–94; self in, 392–94; sexuality in, 20, 383–89, 392–94; on sound poetics, 378–80; sound poetics and, 391–92
Tejada, Roberto, works of: “Colloquy,” 383–85; “Controlled Tour Management Policy,” 389–90; “Debris in Pink and Black,” 370–73; “Dyspnea,” 385; “The Element,” 385–86; Exposition Park, 370–73, 387–90; In Focus: Manuel Álvarez Bravo, 382–83; Full Foreground, 374–76, 390–92; “Guidelines for Professional Practices,” 389–90; “Kill Time Objective,” 377–78; “Liquid M,” 393; Mirrors for Gold, 383–87; “Snake,” 389; “Untitled [Impulse in the great organism of terror],” 375–76; “Untitled [Not a word of my surrounding],” 374–75; Why the Assembly Disbanded, 377–78, 393
temporality in Perez, 335–36, 338
textuality: Hedge Coke’s poetic structure, 168–69; Kilwein Guevara’s animal poems, 291–92; Torres’s ecopoetics, 421
texture: Blanchfield’s phonemes, 80; Hume’s devices and features, 226–28, 231; Tejada’s short lines, 386
theater and film in
Blanchfield, 77–81
thematic geometry in Hedge Coke, 163–64, 167–69, 173–80
tidal poetics, Perez, 19, 332–39
Tiffany, Daniel, 71, 314–16
time: Blanchfield’s poetic, 73, 76–81; Hume on, 221; Kapil’s narrative, 16, 249; Perez’s grammar, 335–36, 338
Torres, Edwin: diasporous poetics and, 7–8, 416–20; ecopoetics and, 420–21; “I.E.” concept, 414; masculinity and, 415–16; narrative poetics and, 415–16, 423; Noel’s analysis, 413–26; noise and silence in, 420–22; ongoing projects, 424–25; overview of work, 20–21, 413–14; poetics statement, 410–12; porous poetics and, 20–21, 413–26; Puerto Rico and, 415–16, 418–23; Romantic Constructivism and, 422–25; self in, 423–26; sound poetics and, 418–21; and verbivocovisual poetics, 21, 413, 416, 422, 424–26
Torres, Edwin, works of: The All-Union Day Of The Shock Worker, 416; Ameriscopia, 402–9, 415–16; “A Most Imperfect Start,” 416–17; “And In Trying,” 402–3; “Barrio/Barrier,” 401, 418; “Bone Boy,” 416; “The Boy Made Of Glass,” 423–24; “Dirtspeech,” 398–99; “Dome,” 405–9; In The Function Of External Circumstances, 416–17; “H onest,” 422; I Hear Things People Haven’t Really Said, 413–14; “I Wanted To Say Hello To The Salseros But My Hair Was A Mess,” 415–16; “The Name of Things,” 424; “Noricua BBQ,” 422–23; “Of Natural Disasters And Love,” 401–2; One Night: Poems for the Sleepy, 423; “The PoPedology Of An Ambient Language,” 417–18; The PoPedology Of An Ambient Language, 398–401, 414, 419–23; “Slipped Curve,” 414; “Some Kinda Rip In What I See,” 425; “Surrender,” 423; “Swallow These Words,” 413–14, 424–25; “Taking Tiger Mountain,” 420; “Temporality at 5am,” 424–25; “The Theorist Has No Samba!,” 21, 399–400, 420; “Viva La Viva,” 403–5; XoeteoX: the infinite word object, 425; Yes Thing No Thing, 401–2, 421–25
Toscano, Rodrigo, 416, 419–21
translation: Alcalá’s poetic, 49; Borzutzky on, 103–5; Borzutzky’s literary, 111–18
transmutation in Moten, 309–10
transnational poetics in Borzutzky, 107–18
trauma, Kapil on, 250
Twain, Mark, “The War Prayer,” 359
twinship in Giménez Smith, 137, 139–41, 143
typography in Perez, 18–19
undercommons, Moten, 11, 18, 315
undocumentary poetics, Alcalá, 9, 44
vanguardism: in Moten, 315; in Torres, 418–19, 425
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