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By M. Dowdy

"In this research, Dowdy uncovers and analyzes the first rhetorical concepts, fairly 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 publication cuts throughout severe reports equipped through identification classification and material. Combining theories of service provider and cultural reports, this Read more...

summary: "In this learn, Dowdy uncovers and analyzes the first rhetorical techniques, fairly figures of voice, in American political poetry from the Vietnam War-era to the current. through advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the ebook cuts throughout serious reports prepared via identification classification and subject material. Combining theories of enterprise and cultural reports, this complete account of latest American verse makes use of shut readings of canonical and lesser recognized poets, bilingual poets, and hip-hop artists to be able to chart American poetry's specific voices. This e-book should be necessary to these drawn to twentieth-century poetry, poetics, hip-hop tradition, literature and politics, cultural stories, and African-American and Latina/o cultures."--Jacket

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For each strategy, I choose five to six poems that I believe best represent the characteristics of the particular rhetorical strategy. I consider strategies for engagement the primary departure point for my study of American political poems, with their sites of engagement and issues of engagement secondary variables for understanding the work they attempt. Gibbons’s proposition that political poetry is “inextricable” from specific poems at “particular historical moments” leads to his suggestion that it is apt only to discuss examples of political poems (207) rather than to explicate political poetry with broad critical strokes.

Most importantly, the categories are not poet-generated; instead, I formulated them in order to clarify and illuminate the political work of contemporary American poetry. But to be clear, the poetry is generative of the strategies—I did not read poetry and listen to hip-hop for years with this framework in mind; rather, the framework comes from years of trying to understand the political work of printed poetry and hip-hop. While the categories are an emergent quality of the poetry itself, this book certainly reveals my preferences.

These frames are limiting, often leading us away from the language itself and into ever-narrowing thematic concerns and/or identity categories. I argue that political poetry overflows these boundaries and settles more dynamically into a collection of distinct, but overlapping, rhetorical strategies. These strategies foreground various kinds of poetic agency that have unique ways of acting politically. Analyzing the ways that political agency is actualized in poems’ rhetorical strategies, specifically in their figures of voice, allows for the contingencies of identity positions and thematic concerns while emphasizing how poems address social, economic, and political issues.

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