By Michael Dowdy
Dowdy uncovers and analyzes the first rhetorical options, fairly figures of voice, in American political poetry from the Vietnam battle period to the current.
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AGE OF REitfSON half I it's been my purpose, for numerous years prior, to put up my options upon faith. i'm good conscious of the problems that attend the topic, and from that attention, had reserved it to a extra complicated interval of existence. T meant it to be the final providing I should still make to my fellow-citizens of all countries, and that at a time while the purity of the rationale that brought on me to it, couldn't admit of a query, even through those that may well disapprove the paintings.
A riotous, bitingly humorous, and supremely smart novel from certainly one of our such a lot precise voices within the English language. The yr is 1970, and Keith Nearing, a twenty-year-old literature pupil, is spending his summer time holiday in a fort on a mountainside in Italy. The Sexual Revolution is in full-swing—a old second of extraordinary opportunity—and Keith and his buddies are instantly stuck up in its chaotic, ecstatic throes.
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Extra resources for American Political Poetry into the 21st Century (American Literature Readings in the Twenty-First Century)
That the law must be compatible with how people actually arrange their lives. The way law stays alive is by keeping in touch with social contracts pieced together among real people on the ground” (108). I begin this chapter with de Soto because of his words’ striking parallels with the modus operandi of the poems of embodied agency. One need only substitute “poetry” for “the law” to make de Soto’s claim about on-the-ground experience a perfect gateway into the poetry of this chapter. The poems I discuss demand that we see that experience “gives life” to poetry.
He seemingly rejoiced in them up to his assassination in 1936 at the beginning of the Spanish Civil War, murdered before he was able to write poetry during a war that would dramatically transform Spain into a fascist state. He was martyred, then, before he was forced either to make poetry out of the context of war, or, in the words of Wallace Stevens, to evade the “pressure of reality” on the imagination by ignoring the environment around him. Stevens styles the question this way: retreat inward or take on the world’s horrors?
I agree with Blasing to an extent, but she does not go far enough in considering the potential of various informal languages, working-class languages, and the languages used on numerous city streets where rhythm and rhyme are highly regarded for their differences from standard discourses; she also appears to overstress the power of elevated literary language. For instance, hip-hop both confirms and subverts her claim; rule bound, it has extremely rigid forms and does not sound at all like “normal” speech, but it is usually not “high” diction.