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Preface and Acknowledgments Introduction Notes Preface and Acknowledgments 1. Dana Gioia, “Disappearing Ink: Poetry at the End of Print Culture,” The Hudson Review 56, no. 1 (2003): 21. Introduction 1. Alurista, “Libertad Sin Lágrimas,” in Floricanto en Aztlán (Los Ange- les: Chicano Studies Center, University of California, 1971), 112, lines 1– 4. 2. Frederick Luis Aldama, Spilling the Beans in Chicanolandia: Conversa- tions with Writers and Artists (Austin: University of Texas Press, 2006), 19. 3. Ibid., 38. 4. Ibid., 48. 5. Ibid. 6. Ibid. 7. Ibid., 41. 8. Urayoán Noel, “co-opt city,” in Hi- Density Politics (Buffalo: BlazeVOX, 2010), lines 1– 6. 9. Eduardo C. Corral, “Border Triptych,” in Slow Lightning (New Haven: Yale University Press, 2012), 13. 10. Martín Espada, El Coro: A Chorus of Latino and Latina Poetry (Amherst: University of Massachusetts Press, 1997), xv. 11. Aracelis Girmay, “Mi Muerto,” in Kingdom Animalia (Rochester, NY: Boa Editions, 2011), 18. 12. Aracelis Girmay, “Science,” in Kingdom Animalia (Rochester, NY: Boa Editions, 2011), 49. 13. Aracelis Girmay, “Self Portrait of the Skin’s Skin,” in Kingdom Anima- lia (Rochester, NY: Boa Editions, 2011), 66, lines 2– 3. 14. Carmen Gimenéz Smith, Goodbye, Flicker: Poems (Amherst: University of Massachusetts Press, 2012), 30, lines 1–4. 15. Ada Limón, Lucky Wreck (Pittsburgh: Autumn House Poetry, 2006), 47, lines 1– 2. 16. Alejandro Escude, “After the Country’s Collapse,” in Where Else but Here (Greensboro, NC: March Street Press, 2005), 2, lines 7–10. 178 Notes 17. Ibid., 14, lines 1– 3. 18. Rane Arroyo, Primera Página: Poetry from the Heartland (Kansas City: Scapegoat Press, 2008), 14, line 11. 19. Espada, El Coro, xi. 20. Ibid. 21. Urayoán Noel, “Bodies That Antimatter: Locating U.S. Latino/a Poetry, 2000– 2009,” Contemporary Literature 52, no. 4 (2011): 852. 22. Ibid., 854. 23. Ibid., 880. 24. John O. Espinoza, The Date Fruit Elegies (Tempe: Bilingual Press, 2008), 83. 25. Steven Cordova, “Aesthetics and Theme: Time and Place (with an Afterword on Polemics),” in The Other Latin@: Writing against a Sin- gular Identity, ed. Blas Falconer and Lorraine M. López (Tucson: Uni- versity of Arizona Press, 2011), 69. 26. Marta E. Sánchez, Contemporary Chicana Poetry: A Critical Approach to an Emerging Literature, (Berkeley: University of California Press, 1985), 17. 27. Rafael Pérez- Torres, Movements in Chicano Poetry: Against Myths, against Margins (Cambridge: Cambridge University Press, 1995), 13. 28. Ibid., 7. 29. Ibid., 13. 30. Andres Rodriguez, “Contemporary Chicano Poetry: The Work of Michael Sierra, Juan Felipe Herrera and Luis J. Rodriguez,” Bilingual Review 21, no. 3 (September– December 1996): 219. 31. Manuel R. López, Chicano Timespace: The Poetry and Politics of Ricardo Sánchez (College Station: Texas A&M University Press, 2001), 93. 32. Francisco Aragón, The Wind Shifts: New Latino Poetry (Tucson: Uni- versity of Arizona Press, 2007), 1. 33. Ibid., 2. 34. Dana Gioia in “Poetic Collaborations: Interview with Dana Gioia,” World Literature Today 85, no. 5 (September– October 2011): 27. 35. Dana Gioia, Can Poetry Matter?: Essays on Poetry and American Cul- ture (Saint Paul: Graywolf Press, 1992), 32. 36. Ibid., 32. 37. Ibid., 45. 38. Monroe K. Spears, “The Poetics of the New Formalism,” The Hudson Review 43, no. 4 (Winter 1991): 562. 39. David Caplan, “What Was New Formalism?,” in A Companion to Poetic Genre, ed. Erik Martiny (Malden, MA: Wiley- Blackwell, 2012), 19. 40. Paraphrased from Paul Breslin, “Two Cheers for the New Formalism,” The Kenyon Review 13, no. 2 (Spring 1991): 144. 41. Caplan, “What Was New Formalism?,” 19. 42. Ibid., 22. Notes 179 43. Ibid., 31. 44. Breslin, “Two Cheers for the New Formalism,” 145. 45. Ibid., 146. 46. Ibid., 150. 47. Caplan, “What Was New Formalism?,” 31. 48. Breslin, “Two Cheers for the New Formalism,” 147. 49. Spears, “The Poetics of the New Formalism,” 562. 50. Rachel Blau DuPlessis, “Manifests,” Diacritics 26, nos. 3– 4 (Fall– Winter 1996). 51. Ibid., 36. 52. Ibid., 51. 53. Ibid. 54. Rachel Blau DuPlessis, Blue Studios: Poetry and Its Cultural Work (Tuscaloosa: University of Alabama, 2006), 199. 55. Ibid., 199. 56. Brian McHale, “Beginning to Think about Narrative in Poetry,” Nar- rative 17, no. 1 (January 2009): 17. 57. Ibid., 23. 58. Ibid. 59. Ibid., 17. 60. Ibid. 61. Alberto Ríos, “Some Thoughts on the Integrity of the Single Line in Poetry,” in A Broken Think: Poets on the Line, ed. Emily Rosko and Anton Vander Zee (Iowa City: University of Iowa Press, 2011), 209. 62. Kathy Fagan, “In Praise of Line Breaks,” in A Broken Think: Poets on the Line, ed. Emily Rosko and Anton Vander Zee (Iowa City: Univer- sity of Iowa Press, 2011), 86. 63. Espinoza, The Date Fruit Elegies, 83. 64. Ibid. 65. Ibid. 66. Ibid., 84. 67. Debra Fried, “The Stanza Echo Chambers,” in A Companion to Poetic Genre, ed. Erik Martiny (Malden, MA: Wiley-Blackwell, 2012), 53. 68. Ibid. 69. Ibid., 55. 70. McHale, “Beginning to Think about Narrative in Poetry,” 18. 71. Dana Gioia in “Poetic Collaborations: Interview with Dana Gioia,” World Literature Today 85, no. 5 (September– October 2011): 28. 72. McHale, “Beginning to Think about Narrative in Poetry,” 23. 73. Ibid., 23. 74. Brian McHale’s call for a “robust program of research into narrative in poetry” (“Beginning to Think about Narrative in Poetry,” 23) has begun to lead to exciting collateral insights into how segmentation as narratological device works in certain narrative fictions. (See Sean O’Sullivan’s “Broken on Purpose: Poetry, Serial Television, and the 180 Notes Season,” Storyworlds 2 (2010): 59– 77.) In my work elsewhere on film, children’s books, and short stories, I consider the importance of seg- mentivity: how a director like Robert Rodriguez creates blueprints that ask us to parse the audiovisual stimuli in specific ways as well as how an author like Elmore Leonard uses segmentivity as a technique of narrating in his short stories (The Complete Western Stories of Elmore Leonard). Leonard certainly would not achieve the cinematographic effect and narrative speed that he so masterfully displays if he made a different use of the segmentivity device. 75. Rodrigo Toscano, “Los Exploradores,” in Deck of Deeds (Denver: Counterpath, 2012), 1. 76. Roberto Harrison, “An Hispanic Identity Meaning Switches and False Twos,” in 0s (Berkeley: Subpress 2007): 25. 77. Victor Shklovsky, Theory of Prose, trans. Benjamin Sher (Elmwood Park, IL: Dalkey Archive Press, 1991), 6. 78. William Harmon, The Poetry Toolkit: For Readers and Writers (Oxford: Wiley- Blackwell, 2012), xii. 79. Brooke Hardy and Doug Moon, “C. Dale Young,” Panhandler 3 (November 6, 2003): 40, http://panhandlermagazine.com/ interviews/c-dale-young. Chapter 1 1. Christopher Hennessy, “Bearing Witness: Doctor, Poet, Gay Man and Cuban American, Rafael Campo Sheds Light on Poetry and Healing,” Lambda Book Report 12, nos. 5– 6 (December 2003– January 2004): 8. 2. Ibid., 8. 3. Ibid. 4. Rafael Campo, The Healing Art: A Doctor’s Black Bag of Poetry (New York: W. W. Norton, 2003), 19. 5. Ricardo Ortiz, Cultural Erotics in Cuban America (Minneapolis: Uni- versity of Minnesota Press, 2007), 238. 6. Ibid., 263. 7. Ibid. 8. Ibid., 263– 64. 9. Ibid., 325. 10. S. W. Henderson, “Identity and Compassion in Rafael Campo’s ‘The Distant Moon,’” Literature and Medicine 19, no. 2 (Fall 2000): 263. 11. See Delese Wear and Julie M. Aultman, “Creating Difficulties Every- where,” Perspectives in Biology and Medicine 50, no. 3 (Summer 2003): 348– 62. See also Rita Charon, “Narrative Medicine: Attention, Repre- sentation, Affiliation,” Narrative 13, no. 3 (October 2005): 261– 70. 12. Joanne Rendell, “Drag Artists: Performativity, Subversion and the AIDS Poetry of Rafael Campo and Mark Doty,” Critical Survey 14, no. 2 (2002): 97. Notes 181 13. Ibid., 97. 14. David Caplan, “Rafael Campo,” in New Formalist Poets: Dictionary of Literary Biography, vol. 282 (Detroit: Gale Group, 2003), 30. 15. Ibid., 30. 16. Thomas March, The Enemy Review, Lambda Book Report 15, no. 1 (Spring 2007): 30. 17. Ibid. 18. Ibid. 19. Ibid. 20. See Frederick Aldama, “Rafael Campo,” in Gay and Lesbian Litera- ture, vol. 2, ed. Sara and Tom Pendergast (Michigan: St. James Press, 1997). 21. Victor Shklovsky, Theory of Prose, trans. Benjamin Sher (Elmwood Park, IL: Dalkey Archive Press, 1991), 2. 22. Rafael Campo, The Other Man Was Me: A Voyage to the New World (Houston: Arte Público, 1994), 63. 23. Campo, The Healing Art, 35. 24. David Antoine Williams, Defending Poetry: Art and Ethics in Joseph Brodsky, Seamus Heaney, and Geoffrey Hill (Oxford: Oxford University Press, 2010), 17. 25. Stacey Waite, “Rafael Campo,” in Encyclopedia of Contemporary LGBTQ Literature of the United States, ed. Emmanuel Nelson (West- port: Greenwood, 2009): 113. She also makes note of this form- content pattern in Campo. She identifies, for instance, how “often emotionally and politically charged subjects (his generations of family, his complicated sense of homeland, and his own understanding of his gay identity), Campo employs formalism as a kind of container for what cannot seem to be contained— identity, suffering, healing, and hope” (113). 26. The English sonnet consists of 14 lines, each with ten syllables and in iambic pentameter, with a rhyme scheme a- b- a- b, c- d- c- d, e- f- e- f, g- g, where the last two lines are a rhyming couplet. By contrast, the Italian sonnet is composed of two parts that as a whole form an argument of sorts. In the first part, two quatrains (a- b- b- a, a- b- b- a rhyme scheme) convey the proposition and problem; in the second part two tercets (c- d- c- c- d- c rhyme scheme) propose a resolution. The poem moves to its resolution with the shift in tone that takes place in the ninth line. See http.en.wikipedia.org/wiki /sonnet.
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