Notes

Preface and Acknowledgments 1. , “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 , 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 and Latina Poetry (Amherst: University of 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 ,” 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 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 , 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 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. See also Marilyn Hacker’s chapter on “The Sonnet” in her Unauthorized Voices: Essays on Poets and Poetry, 1987–2009, ed. (Ann Arbor: University of Michigan Press, 2010). 27. Rafael Campo, “Café Pamplona,” in The Other Man Was Me, lines 1–2. 28. Ibid. 29. Ibid., lines 7– 10. 30. Ibid., lines 13– 14. 182 Notes

31. Ibid., line 16. 32. Ibid., lines 17– 18. 33. Ibid., lines 19, 23– 24. 34. Rafael Campo, “Fernando,” in The Other Man Was Me, lines 1– 2. 35. Ibid., line 7. 36. Ibid., lines 16– 18. 37. Ibid., lines 16– 17. 38. Ibid., lines 24– 25. 39. Ibid., line 18. 40. Ibid., line 19– 20. 41. Ibid., line 19. 42. Ibid., lines 30– 33. 43. Ibid., lines 33– 34. 44. Rafael Campo, “Belonging,” in The Other Man Was Me, line 1. 45. Ibid., lines 5– 6. 46. Ibid., lines 13– 16. 47. Ibid., line 21. 48. Ibid., line 13. 49. Rafael Campo, “In the Form,” in The Other Man Was Me, line 1. 50. Ibid., line 14. 51. Rafael Campo, “My Voice,” in What the Body Told (Durham: Duke University Press, 1996), lines 2–4. 52. Ibid., lines 12– 13. 53. Ibid., lines 22. 54. Rafael Campo, “Las Mujeres,” in What the Body Told, lines 1– 2. 55. Ibid., lines 6– 7. 56. Ibid., line 8. 57. Ibid., line 14. 58. Ibid., line 9. 59. Ibid., line 10. 60. Ibid., line 12. 61. Ibid., lines 13– 15. 62. Rafael Campo, “Imagining Drag,” in What the Body Told, lines 1– 3. 63. Ibid., lines 2– 3. 64. Ibid., lines 2– 5. 65. Ibid., line 6. 66. Ibid., lines 8– 9. 67. Ibid., lines 10– 11. 68. Ibid., line 12. 69. Ibid., lines 13– 14. 70. Ibid., lines 15– 16. 71. Rafael Campo, “Mother and Daughter,” in What the Body Told, lines 1– 5. 72. Ibid., line 1. 73. Ibid., lines 10– 12. Notes 183

74. Ibid., lines 12– 14. 75. Rafael Campo, “Prescription,” in What the Body Told, line 1. 76. Ibid., lines 21, 24. 77. Rafael Campo, “The Good Doctor,” in What the Body Told, lines 1– 4. 78. Ibid., line 8. 79. Ibid., lines 21– 14. 80. Ibid., line 24. 81. Rafael Campo, “Superman Is Dead,” in What the Body Told, lines 3–4. 82. Ibid., line 9. 83. Ibid., lines10– 11. 84. Ibid., lines 11– 13. 85. Ibid., lines 14– 15. 86. Rafael Campo, “In English That Is Spanish,” in What the Body Told, lines 3– 4. 87. Ibid., lines 16– 17. 88. Ibid., lines 18– 19. 89. Ibid., line 22. 90. Ibid., line 26. 91. Rafael Campo, “Madonna and Child,” in What the Body Told, lines 1– 4. 92. Ibid., line 28. 93. Ibid., lines 5– 6. 94. Ibid., line 27. 95. Rafael Campo, “Four Humours,” in What the Body Told, lines 1, 3. 96. Ibid., lines 6– 7. 97. Ibid., lines 9– 12. 98. Ibid., lines 25– 26. 99. Ibid., lines 27– 28. 100. Rafael Campo, “Landscape,” in What the Body Told, lines 1– 3. 101. Ibid., lines 15– 17. 102. While the 16-line, sonnet-like poems collected in the subsection “Ten Patients and Another” (the third section of “For You All Beauty”) of What the Body Told are mostly, say, compassionate toward the patient figures, in one titled “F.P” (68) we see this same candid voice that appears in “Phlegm.” The poet-voice tells us, “believe / You me, you do not want to get to know / This fucker. Kaposi’s all over, stinks / Like shit—incontinent, of course. How long / Before you get down here? Because his nurse / Is driving me insane” (lines 9–14). 103. Rafael Campo, “Bile,” in What the Body Told, lines 1– 2. 104. Ibid., lines 3– 4. 105. Ibid., line 9. 106. Ibid., line 13. 107. Ibid., line 24. 108. Rafael Campo, “Melancholy,” in What the Body Told, lines 1– 3. 109. Ibid., lines 4– 6. 184 Notes

110. Ibid., lines 13– 14. 111. Ibid., lines 10– 11. 112. Ibid., line 9. 113. Ibid., line 8. 114. Rafael Campo, “Night Has Fallen,” in The Enemy, 6, lines 1– 2. 115. Ibid., lines 10– 12. 116. Ibid., lines 15, 18. 117. Ibid., lines 20– 21. 118. Ibid., line 23. 119. Rafael Campo, “Progress,” in The Enemy, 81, lines 2– 4. 120. Ibid., lines 10– 12. 121. Ibid., lines 13– 14. 122. Ibid., lines 14– 16. 123. Ibid., lines 18– 19. 124. Ibid., lines 20– 21, 22. 125. Rafael Campo, “You Bring Out the Doctor in Me: After Sandra Cis- neros,” in The Enemy, line 1. 126. Ibid., line 5. 127. Ibid., line 16. 128. Ibid., line 24. 129. Ibid., lines 28– 30. 130. Rafael Campo, “Tuesday Morning,” in The Enemy, 93, lines 1– 3. 131. Ibid., lines 3– 9. 132. Ibid., lines 10– 11. 133. Ibid., lines 14, 17. 134. Ibid., lines 18– 20. 135. Ibid., lines 23– 25. 136. Ibid., lines 25– 28.

Chapter 2 1. Review of Torn, Publishers Weekly, March 21, 2011, 56. 2. Michael Ferguson, “Three Poetry Books,” Journal of Homosexuality 56, no. 4 (2009): 533. 3. Ibid. 4. Review of Torn, 43. 5. Ibid. 6. Ibid. 7. Heather Dubrow, “The Interplay of Narrative and Lyric: Competition, Cooperation, and the Case of the Anticipatory Amalgam,” Narrative 14, no. 3 (October 2006): 265. 8. Ibid. 9. William Carlos Williams, “A Note on Poetry,” in Oxford Anthology of American Literature, ed. William Rose Benet and Norman Holmes Pearson (New York: Oxford University Press, 1938), 1313–14. Notes 185

10. William Carlos Williams, “The Red Wheelbarrow,” in The New Anthol- ogy of : Modernisms: 1900–1950 , ed. Seven Gould Axelrod, Camille Roman, and Thomas J. Travisano (New Brunswick, NJ: Rutgers University Press, 2005), 232, lines 1–4. 11. Ibid., 234. 12. C. Dale Young, “Homage to William Carlos Williams,” in The Day Underneath the Day (Evanston, IL: Triquarterly Books, 2001), 3, lines 7– 8. 13. Ibid., line 12. 14. Ibid., 4, lines 3– 4. 15. Ibid., lines 22– 24. 16. Ibid., line 5. 17. Ibid., 5, lines 11– 15. 18. C. Dale Young, “Complaint of the Medical Illustrator,” in The Day Underneath the Day, 6, lines 1– 2. 19. Ibid., lines 3– 4. 20. Ibid., lines 5– 9. 21. Ibid., line 14. 22. Ibid., lines 15– 16. 23. Ibid., lines 18– 20. 24. Ibid., 7, lines 21– 22. 25. C. Dale Young, “Blue Springs,” in The Day Underneath the Day, 9, lines 6– 8. 26. Ibid., lines 7– 10. 27. Ibid., line 12. 28. Ibid., line 13. 29. Ibid. 30. Ibid., 10, lines 27– 30. 31. C. Dale Young, “The Philosopher in Florida,” in The Day Underneath the Day, 14, lines 10– 13. 32. Ibid., lines 20– 21. 33. Ibid., lines 7– 9. 34. Ibid., lines 20– 21. 35. C. Dale Young, “Apprentice,” in The Day Underneath the Day, 21, line 9. 36. Ibid., lines 10– 11. 37. Ibid., lines 11– 12. 38. Ibid., lines 16– 17. 39. Ibid., lines 1– 3. 40. C. Dale Young, “The Prognosis,” in The Second Person (New York: Four Way Books, 2007), 23, lines 1– 3. 41. Ibid., lines 21– 23. 42. Ibid., line 24. 43. C. Dale Young, “,” in The Second Person, 25, lines 1– 3. 44. Ibid., lines 2– 3. 186 Notes

45. Ibid., line 7. 46. Ibid., lines 11– 14. 47. Ibid., lines 16– 18. 48. Ibid., line 27. 49. Ibid., lines 1– 2. 50. C. Dale Young, “Fourteen,” in Torn (New York: Four Way Books, 2012), 14, lines 1– 5. 51. Ibid., lines 2– 5. 52. Ibid., line 7. 53. Ibid., lines 8. 54. Ibid., line 18. 55. Ibid., line 19. 56. Ibid., lines 23– 24. 57. Ibid., 15, lines 25– 26. 58. Ibid., line 28. 59. C. Dale Young, “The Bridge,” in Torn, 25, lines 1– 2. 60. Ibid., lines 3– 4. 61. Ibid., lines 11– 12. 62. Ibid., lines 21– 25. 63. Ibid., 26, lines 28– 30. 64. Ibid., lines 32– 33. 65. Ibid., lines 36– 39. 66. C. Dale Young, “Imprimatur,” in Torn, 67, lines 1– 3. 67. Ibid., lines 3– 6. 68. Ibid., lines 7– 9. 69. Ibid., line 11. 70. Ibid., 68, line 40. 71. Ibid., lines 21– 25. 72. Ibid., lines 34– 35. 73. Ibid., line 2. 74. Ibid., 69, lines 48– 53.

Chapter 3 1. Homecoming Review, in Library Journal 121, no. 6 (April 1, 1996): 84. 2. Richard Vela, “Daughter of Invention: The Poetry of Julia Alvarez,” Postscript 16 (1999): 33. 3. Ben Jacques, “Real of Imagination,” Américas 53, no. 1 (January– February 2001): 22– 29. 4. Sandra M. Gilbert, “Looks of Memory and Desire,” Poetry 168, no. 5 (August 1996): 285. 5. Ibid. 6. Ibid. 7. Ibid. Notes 187

8. Ibid., 287. 9. Ibid. 10. Diane Scharper, The Woman I Kept to Myself Review, Library Journal 129, no. 3 (February 15, 2004): 130. 11. The Woman I Kept to Myself Review, Publishers Weekly, March 24, 2004, 82. 12. The Woman I Kept to Myself Review, School Library Journal 51, Supple- ment (Spring 2005): 71. 13. Donna Seaman, “New Women’s History Books,” Booklist, March 1, 2004, 1126. 14. Ibid. 15. Catherine E. Wall, “Bilingualism and Identity in Julia Alvarez’s Poem ‘Bilingual Sestina,’” MELUS 28, no. 4 (Winter 2003): 138. 16. Vela, “Daughter of Invention,” 33. 17. Ibid., 41. 18. William Harmon, The Poetry Toolkit: For Readers and Writers (Oxford: Wiley- Blackwell, 2012), 189. 19. Ibid., 197. 20. Julia Alvarez, “Bilingual Sestina,” in The Other Side/El Otro Lado (New York: Plume, 1995), 3, lines 1– 2. 21. Ibid., 4, lines 19– 24. 22. Ibid., lines 30– 32. 23. Ibid., lines 33– 34. 24. Ibid., lines 37– 39. 25. Ibid., lines 25– 30. 26. Ibid., lines 38– 39. 27. Julia Alvarez, “On Not Shoplifting Louise Bogan’s The Blue Estuar- ies,” in The Other Side/El Otro Lado, 46, lines 23– 24. 28. Ibid., lines 25– 26. 29. Ibid., lines 27– 30. 30. Ibid., lines 31– 32. 31. Julia Alvarez, “Beginning Again,” in The Other Side/El Otro Lado, 52, lines 8– 10. 32. Ibid., 53, lines 15– 16. 33. Ibid., lines 17– 18. 34. Ibid., lines 31, 29, 33. 35. Ibid., lines 34– 35. 36. Ibid., line 54. 37. Ibid., lines 37– 40. 38. Ibid., lines 41– 42. 39. Julia Alvarez, “Making up the Past,” in The Other Side/El Otro Lado, 55, lines 3– 4. 40. Ibid., 56, line 13. 41. Ibid., lines 14– 16. 42. Ibid., lines 23– 24. 188 Notes

43. Ibid., 57, line 44. 44. Ibid., 56, line 29. 45. Ibid., lines 61– 62. 46. Ibid., line 64. 47. Ibid., lines 71– 76. 48. Julia Alvarez, “First Love Letter,” in The Other Side/El Otro Lado, 62, lines 17– 18. 49. Ibid., lines 31– 32. 50. Ibid., lines 36– 37. 51. Ibid., lines 41– 42. 52. Ibid., line 44. 53. Ibid., lines 56– 57. 54. Ibid., lines 53– 54. 55. Ibid., lines 67– 69. 56. Julia Alvarez, “Touchstone,” in The Other Side/El Otro Lado, 64. 57. Ibid., 64, lines 6– 7. 58. Ibid., line 99. 59. Ibid., 67, lines 109– 11. 60. Julia Alvarez, “Going Back to Sleep,” in The Other Side/El Otro Lado, 68, lines 1– 4. 61. Ibid., 69, line 19. 62. Ibid., 69, lines 17– 22. 63. Ibid., 69, lines 41– 42. 64. Ibid., 70, lines 69– 70. 65. Julia Alvarez, “The Last Love Story,” in The Other Side/El Otro Lado, 85, lines 16– 18. 66. Ibid., line 19. 67. Ibid., line 24. 68. Ibid., lines 95– 96. 69. Ibid., 87, lines 95– 106. 70. Ibid., lines 95– 98. 71. Ibid., lines 99– 101. 72. Ibid., lines 104– 7. 73. Julia Alvarez, “Homecoming,” in Homecoming: New and Collected Poems (New York: Plume, 1996), 3, lines 3– 4. 74. Ibid., line 9. 75. Ibid., 4, lines 34– 35. 76. Ibid., line 34. 77. Ibid., line 38. 78. Ibid., lines 12– 13. 79. Ibid., line 41. 80. Ibid., line 40. 81. Ibid., lines 45– 47. 82. Ibid., line 42. 83. Ibid., 3, lines 19– 20. Notes 189

84. Ibid., 4, line 64. 85. Ibid., lines 62– 63. 86. Julia Alvarez, “Dusting,” in Homecoming, 9, lines 1– 2. 87. Ibid., lines 17– 18. 88. Ibid., line 5. 89. Ibid., lines 6– 8. 90. Ibid., line 13. 91. Julia Alvarez, “Washing the Windows,” in Homecoming, 17, line 2. 92. Ibid., line 17. 93. Ibid., lines 22– 23. 94. Ibid., lines 24– 25. 95. Ibid., lines 22– 25. 96. Julia Alvarez, “Storm Windows,” in Homecoming, 18, lines 2, 1. 97. Ibid., line 16. 98. Ibid., lines 19– 20. 99. Ibid., line 16. 100. Julia Alvarez, “Hanging the Wash,” in Homecoming, 20, lines 1– 2. 101. Ibid., lines 21– 23. 102. Ibid., lines 41– 45. 103. Ibid., 21, lines 75– 77. 104. Ibid., 24, lines 153– 54. 105. Julia Alvarez, “The Family Tree,” in The Women I Kept to Myself (Cha- pel Hill, NC: Algonquin Books, 2004), 3, lines 1– 7. 106. Ibid., line 8. 107. Ibid., line 10. 108. Ibid., line 20. 109. Ibid., 4, line 21. 110. Ibid., lines 23, 27. 111. Ibid., lines 28– 30. 112. Julia Alvarez, “Arborvitae,” in The Women I Kept to Myself, 11, line 1. 113. Ibid., lines 2– 4. 114. Ibid., line 13. 115. Ibid., 12, line 22. 116. Ibid., lines 25– 26. 117. Ibid., lines 29– 30. 118. Julia Alvarez, “Spic,” in The Women I Kept to Myself, 27, lines 1– 2. 119. Ibid., lines 11– 13. 120. Ibid., line 23. 121. Ibid., 27, lines 28– 30. 122. Julia Alvarez, “Abbot Academy,” in The Women I Kept to Myself, 33, lines 5– 8. 123. Ibid., lines 10–11. 124. Ibid., 34, lines 27–30. 125. Julia Alvarez, “Regreso,” in The Women I Kept to Myself, 105, lines 1– 3. 190 Notes

126. Ibid., line 15. 127. Ibid., line 19. 128. Ibid., 106, line 23. 129. Ibid., line 27. 130. Ibid., lines 29– 30. 131. Julia Alvarez, “In Spanish,” in The Women I Kept to Myself, 107, lines 1– 2. 132. Ibid., lines 14–15. 133. Ibid., lines 16–17. 134. Ibid., 108, lines 22– 23. 135. Ibid., 107, lines 27– 30. 136. Julia Alvarez, “Undercover Poet,” in The Women I Kept to Myself, 129, line 1. 137. Ibid., Lines 6– 10. 138. Ibid., 130, lines 28– 30. 139. Julia Alvarez, “Did I Redeem Myself,” in The Women I Kept to Myself, 156, lines 26– 30.

Chapter 4 1. Silvio Torres- Saillant and Ramona Hernández, The Dominican Ameri- cans (Westport, CT: Greenwood Press, 1998), 116. 2. Len Krisak, “Rhina P. Espaillat,” in New Formalist Poets: Dictionary of Literary Biography, vol. 282 (Detroit: Gale Group, 2003), 80. 3. Ibid. 4. Ibid. 5. Ibid. 6. See Bill Christophersen’s “Spruce but Loose: Formalism in the Nine- ties,” and X. J. Kennedy’s “Comments on 1998 T. S. Eliot Prize for Where Horizons Go by Rhina P. Espaillat.” 7. Robert B. Shaw, “Straws in the Wind” Review, Poetry 180, no. 6 (Sep- tember 2002): 351. 8. Ibid. 9. Ibid. 10. Ibid., 352. 11. Bill Christophersen, “Spruce but Loose: Formalism in the Nineties,” Poetry 174, no. 6 (September 1999): 345. 12. Ibid., 348. 13. Ibid., 349. 14. Paul Lake, Her Place in these Designs Review. First Things: A Monthly Journal of Religion & Public Life 194 (June– July 2009): 59. 15. Ibid. 16. Kay Day, “Characters in Poetry,” Writer 117, no. 6 (June 2004): 21. 17. Ibid. Notes 191

18. Rhina Espaillat, “Unison,” in Lapsing to Grace (East Lansing, MI: Bennett and Kitchel, 1992), 2, lines 1– 3. 19. Ibid., lines 7– 8. 20. Rhina Espaillat, “Highway Apple Trees,” in Lapsing to Grace, 1, line 1. 21. Ibid., lines 1, 12, 18. 22. Ibid., line 12. 23. Rhina Espaillat, “September,” in Lapsing to Grace, 6, lines 1– 3. 24. Ibid., line 9. 25. Ibid., lines 11– 12. 26. Rhina Espaillat, “Tapping the Glass,” in Lapsing to Grace, 10, lines 6– 7. 27. Ibid., lines 15– 16. 28. Rhina Espaillat, “Pig,” in Lapsing to Grace, 13, lines 1– 2. 29. Ibid., lines 13– 14. 30. Rhina Espaillat, “You Call Me by Old Names,” in Lapsing to Grace, 16, lines 3– 4. 31. Ibid., lines 7– 8. 32. Ibid., lines 11– 12. 33. Ibid., lines 15– 16. 34. Ibid., lines 9– 10. 35. Ibid., line 9. 36. Rhina Espaillat, “Bodega,” in Lapsing to Grace, 18, lines 1, 16. 37. For more on the ekphrastic form understood in this sense, see Jona- than Ellis’s “Ekphrastic Poetry in and out of the Museum.” 38. Rhina Espaillat, “Reading Vermeer,” in Where Horizons Go (Kirksville, MO: New Odyssey Press, 1998), 56, lines 1–4. 39. Ibid., line 8. 40. Ibid., line 10. 41. Ibid., lines 14– 15. 42. Ibid., lines 17– 18. 43. Ibid., lines 19– 20. 44. Rhina Espaillat, “Six of One,” in Where Horizons Go, 23, lines 1– 2 45. Ibid., 23, lines 9– 11. 46. Ibid., line 23. 47. Rhina Espaillat, “Review,” in Where Horizons Go, 33, lines 32– 33. 48. Ibid., 32, lines 1– 3. 49. Ibid., lines 29– 32. 50. Ibid., lines 34– 36. 51. Ibid., lines 37– 39. 52. Rhina Espaillat, “Rachmaninoff on the Mass Pike,” in Where Horizons Go, 46, lines 1– 3. 53. Ibid., line 4. 54. Ibid., lines 13– 15. 55. Ibid., lines 1– 2. 56. Ibid., lines 2– 4. 192 Notes

57. Rhina Espaillat, “Psyche Revised,” in Rehearsing Absence (Evansville, IN: University of Evansville Press, 2001), line 1. 58. Ibid., lines 1– 3. 59. Ibid., line 12. 60. Ibid., line 14. 61. Ibid., lines 2, 3, 5. 62. Ibid., line 14. 63. Rhina Espaillat, “The Master Explains,” in Rehearsing Absence, 29, line 3. 64. Ibid., line 17. 65. Ibid., lines 18– 19. 66. Rhina Espaillat, “Tooth Poem,” in The Shadow I Dress In (Cincinnati, OH: David Robert Books, 2004), 21, lines 1– 4. 67. Ibid., line 5. 68. Ibid., line 11. 69. Ibid., line 14. 70. Ibid., lines 1, 3. 71. Ibid., line 21. 72. Ibid., lines 9– 10. 73. Rhina Espaillat, “Translation,” in The Shadow I Dress In, 34, lines 1– 5. 74. Ibid., 35, lines 18, 19– 20. 75. Ibid., 36, lines 29– 30. 76. Rhina Espaillat, “Refraction,” in The Shadow I Dress In, 94, line 5. 77. Ibid., line 10. 78. Ibid., lines 6– 7. 79. Ibid., line 12. 80. Ibid., 95, line 13. 81. Ibid., lines 5, 2. 82. Ibid., lines 7– 8. 83. Ibid., line 12. 84. Ibid., 94– 95, line 15. 85. Rhina Espaillat, “Warning,” in The Shadow I Dress In, 100, lines 1– 3. 86. Rhina Espaillat, “People in Home Movies,” in Playing at Stillness (Kirksville, MO: Truman State University Press, 2005), 46, lines 2–4. 87. Ibid., line 14. 88. Ibid., 47, lines 37– 39. 89. Ibid., 46, line 1. 90. Ibid., 47, line 37. 91. Ibid., line 39. 92. Rhina Espaillat, “Easy Words,” in Playing at Stillness, 51, lines 1– 2. 93. Ibid., lines 3– 4. 94. Ibid., line 9. 95. Ibid., line 11. 96. Ibid., lines 13– 14. 97. Rhina Espaillat, “Eyes,” in Playing at Stillness, 55, lines 1– 3. 98. Ibid., line 7. Notes 193

99. Ibid., lines 18– 19. 100. Ibid., lines 21– 22. 101. Ibid., line 23. 102. Ibid., 56, lines 27– 28. 103. Ibid., 56, lines 31– 32. 104. Ibid., lines 38– 41. 105. Rhina Espaillat, “Marginal,” in Playing at Stillness, 97, line 3. 106. Ibid., lines 7– 8. 107. Ibid., lines 9– 10. 108. Ibid., lines 11– 12. 109. Ibid., line 13. 110. Ibid., line 15. 111. Rhina Espaillat, “In That Old Dream Again,” in Her Place in These Designs (Kirksville, MO: Truman State University Press, 2008), 6, lines 2– 4. 112. Ibid., line 1. 113. Ibid., line 5. 114. Ibid., lines 5– 6. 115. Ibid., line 1. 116. Rhina Espaillat, “Replay,” in Her Place in These Designs, 9, line 8. 117. Ibid., lines 18–20. 118. Ibid., lines 9– 12. 119. Ibid., line 20. 120. Rhina Espaillat, “Find Work,” in Her Place in These Designs, 17, lines 3– 5. 121. Ibid., line 6. 122. Ibid., line 9. 123. Ibid., lines 13– 14. 124. Rhina Espaillat, “Nothing New,” in Her Place in These Designs, 75. 125. Ibid., lines 1– 3. 126. Ibid., lines 11– 14. 127. Rhina Espaillat, “Translating,” in Her Place in These Designs, 79, lines 1– 3. 128. Ibid., line 8. 129. Ibid., line 9. 130. Ibid., line 12. 131. Ibid., line 4. 132. Ibid., line 5. 133. Ibid., line 6. 134. Rhina Espaillat, “On the Impossibility of Translation,” in Her Place in These Designs, 88, lines 1– 3. 135. Ibid., lines 3– 6. 136. Ibid., line 9. 137. Ibid., lines 11– 12. 138. Ibid., lines 13– 14. Bibliography

Aldama, Frederick Luis, and Patrick Hogan. Conversations on Cognitive Cul- tural Studies: Puzzling Out the Self. Columbus: Ohio State University Press, 2014. ———. “Latino/a Theory.” In The Encyclopedia of Literary and Cultural Theory, edited by Michael Ryan, Gregory Castle, Robert Eaglestone, and M. Keith Booker, 668–74. Oxford: Wiley- Blackwell, 2011. ———. Spilling the Beans in Chicanolandia: Conversations with Writers and Artists. Austin: University of Texas Press, 2006. ———. “Rafael Campo.” In Gay and Lesbian Literature, edited by Sara and Tom Pendergast, Vol. 2, 71–73. Michigan: St. James Press, 1997. Alurista. Floricanto en Aztlán. Los Angeles: Chicano Studies Center, Univer- sity of California, 1971. Alvarez, Julia. The Woman I Kept to Myself. Chapel Hill, NC: Algonquin Books, 2004. ———. Homecoming: New and Collected Poems. New York: Plume, 1996 [1984]. ———. The Other Side/El Otro Lado. New York: Plume, 1995. Anonymous. Review of Homecoming, by Julia Alvarez. Library Review April 1, 1996, 84. Anonymous. Review of The Second Person, by C. Dale Young. Publishers Weekly, March 19, 2007, 43. Anonymous. Review of Torn, by C. Dale Young. Publishers Weekly, March 21, 2011, 56. Anonymous. Review of The Woman I Kept to Myself, by Julia Alvarez. Publish- ers Weekly, March 24, 2004, 82. Anonymous. Review of The Woman I Kept to Myself, by Julia Alvarez. School Library Journal, Spring 2005, 71. Anzaldúa, Gloria. “El día de la chicana.” In Infinite Divisions: An Anthol- ogy of Chicana Literature, edited by Tey Diana Rebolledo and Eliana S. Rivero, 82. Tucson: University of Arizona Press, 1993. Aragón, Francisco. The Wind Shifts: New Latino Poetry. Tucson: University of Arizona Press, 2007. Arroyo, Rane. Primera Página: Poetry from the Heartland. Kansas City: Scapegoat Press, 2008. Blanco, Richard. City of a Hundred Fires. Pittsburgh: University of Pittsburgh Press, 1998. 196 Bibliography

Boyd, Brian. Why Lyrics Last: Evolution, Cognition, and Shakespeare’s . Cambridge: Harvard University Press, 2012. Breslin, Paul. “Two Cheers for the New Formalism.” The Kenyon Review 13, no. 2 (Spring 1991): 143– 48. Campo, Rafael. The Enemy. Durham: Duke University Press, 2007. ———. The Healing Art: A Doctor’s Black Bag of Poetry. New York: W. W. Norton, 2003. ———. Landscape with Human Figure. Durham: Duke University Press, 2002. ———. Diva. Durham: Duke University Press, 1999. ———. What the Body Told. Durham: Duke University Press, 1996. ———. The Other Man Was Me: A Voyage to the New World. Houston: Arte Público, 1994. Caplan, David. “What Was New Formalism?” In A Companion to Poetic Genre, edited by Erik Martiny, 17– 33. Malden, MA: Wiley-Blackwell, 2012. ———. “Rafael Campo.” In New Formalist Poets: Dictionary of Literary Biog- raphy, Vol. 282, 24– 30. Detroit: Gale Group, 2003. Cárdenas, Brenda, and Johanny Vázquez Paz. Between the Heart and the Land/Entre el corazón y la tierra. Chicago: March/Abrazo Press, 2001. Charon, Rita. “Narrative Medicine: A Model for Empathy, Reflection, Profes- sion, and Trust.” JAMA 286 (2001): 1897– 902. Chiasson, Dan. Review of Playing at Stillness, by Rhina P. Espaillat. Poetry 187, no. 2 (November 2005): 150– 52. Christophersen, Bill. “Spruce but Loose: Formalism in the Nineties.” Poetry 174, no. 6 (1999): 345– 51. Colón, David. Between Day and Night: New and Selected Poems, 1946–2010 . Fort Worth: Texas Christian University Press, 2013. Cordova, Steven. “Aesthetics and Theme: Time and Place (with an Afterword on Polemics).” In The Other Latin@: Writing against a Singular Identity, edited by Blas Falconer and Lorraine M. López, 69–74. Tucson: Univer- sity of Arizona Press, 2011. Corral, Eduardo C. Slow Lightning. New Haven: Yale University Press, 2012. Day, Kay. “Characters in Poetry.” Writer 117, no. 6 (June 2004): 20– 21. Daydí-Tolson, Santiago. Five Poets of Aztlán. Binghamton, NY: Bilingual Press/Editorial Bilingüe, 1985. Dubrow, Heather. “The Interplay of Narrative and Lyric: Competition, Cooperation, and the Case of the Anticipatory Amalgam.” Narrative 14, no. 3 (October 2006): 254– 71. DuPlessis, Rachel Blau. Blue Studios: Poetry and Its Cultural Work. Tusca- loosa: University of Alabama Press, 2006. ———. “Manifests.” Diacritics 26, nos. 3– 4 (Fall–Winter 1996): 31– 53. Ellis, Jonathan. “Ekphrastic Poetry In and Out of the Museum.” In A Com- panion to Poetic Genre, edited by Erik Martiny, 614– 26. Malden, MA: Wiley- Blackwell, 2012. Bibliography 197

Espada, Martín. El Coro: A Chorus of Latino and Latina Poetry. Amherst: University of Massachusetts Press, 1997. Espaillat, Rhina. Her Place in These Designs. Kirksville, MO: Truman State University Press, 2008. ———. Playing at Stillness. Kirksville, MO: Truman State University Press, 2005. ———. The Shadow I Dress In. Cincinnati, OH: David Robert Books, 2004. ———. Rehearsing Absence. Evansville, IN: University of Evansville Press, 2001. ———. Where Horizons Go. Kirksville, MO: New Odyssey Press, 1998. ———. Lapsing to Grace. East Lansing, MI: Bennett and Kitchel, 1992. Espinoza, John O. The Date Fruit Elegies. Tempe, AZ: Bilingual Press, 2008. Fagan, Kathy. “In Praise of Line Breaks.” In A Broken Think: Poets on the Line, edited by Emily Rosko and Anton Vander Zee, 85– 87. Iowa City: University of Iowa Press, 2011. Ferguson, Michael. “Three Poetry Books.” Journal of Homosexuality 56, no. 4 (2009): 532– 36. Fried, Debra. “The Stanza Echo Chambers.” In A Companion to Poetic Genre, edited by Erik Martiny, 53– 63. Malden, MA: Wiley- Blackwell, 2012. Gilbert, Sandra M. “Looks of Memory and Desire.” Poetry 168, no. 5 (August 1996): 281– 302. Gioia, Dana. “Poetic Collaborations: Interview with Dana Gioia.” World Lit- erature Today, September– October 2011, 27– 35. ———. “Disappearing Ink: Poetry at the End of Print Culture.” The Hudson Review 56, no. 1 (2003): 21– 49. ———. Can Poetry Matter?: Essays on Poetry and American Culture. Saint Paul: Graywolf Press, 1992. ———, and X. J. Kennedy, eds. Literature: An Introduction to Fiction, Poetry, and Drama. New York: Pearson, 2005. Girmay, Aracelis. Kingdom Animalia. Rochester, NY: Boa Editions, 2011. Hadas, Rachel. “Morose Confusion.” Kenyon Review 13, no. 2 (Spring 1991): 149– 53. Hardy, Brooke, and Doug Moon. “C. Dale Young.” Panhandler 3 (November 6, 2003): 40. http://panhandlermagazine.com/interviews/c-dale-young. Harmon, William. The Poetry Toolkit: For Readers and Writers. Oxford: Wiley- Blackwell, 2012. Harrison, Roberto. “An Hispanic Identity Meaning Switches and False Twos,” in 0s. Berkeley, CA: Subpress, 2007. Henderson, S. W. “Identity and Compassion in Rafael Campo’s ‘The Distant Moon.’” Literature and Medicine 19, no. 2 (Fall 2000): 262– 79. Hennessy, Christopher. “Bearing Witness: Doctor, Poet, Gay Man and Cuban- American, Rafael Campo Sheds Light on Poetry and Healing.” Interview. Lambda Book Report, December 2003– January 2004, 6– 9. Jacques, Ben. “Real of Imagination.” Américas 53, no. 1 (January–February 2001): 22– 29. 198 Bibliography

Jakobson, Roman. “Noveishaia russkaia poeziia” (Modern Russian poetry). In Selected Writings: On Verse, Its Masters and Explorers, Vol. 5, 299–344. The Hague: Mouton, 1985. Kennedy, X. J. Comments on 1998 T. S. Eliot Prize for Where Horizons Go by Rhina P. Espaillat. http://tsup.truman.edu/TSEliotPrize/previous _winners.asp. Krisak, Len. “Rhina P. Espaillat.” In New Formalist Poets: Dictionary of Liter- ary Biography, Vol. 282, 78– 82. Detroit: Gale Group, 2003. Lake, Paul. Review of Her Place in These Designs, by Rhina P. Espaillat. First Things: A Monthly Journal of Religion & Public Life, June– July 2009, 59. Leonard, Elmore. The Complete Western Stories of Elmore Leonard. New York: Harper Paperbacks, 2007. Limón, Ada. Lucky Wreck. Pittsburgh: Autumn House Poetry, 2006. López, Manuel R. Chicano Timespace: The Poetry and Politics of Ricardo Sán- chez. College Station: Texas A&M University Press, 2001. March, Thomas. Review of The Enemy, by Rafael Campo. Lambda Book Report 15, no. 1 (Spring 2007): 30. McHale, Brian. “Beginning to Think about Narrative in Poetry.” Narrative 17, no. 1 (January 2009): 11–27. Noel, Urayoán. “Bodies that Antimatter: Locating U.S. Latino/a Poetry, 2000– 2009.” Contemporary Literature 52, no. 4 (2011): 852– 82. ———. Hi- Density Politics. Buffalo, NY: BlazeVOX Books, 2010. Ortiz, Ricardo. Cultural Erotics in Cuban America. Minneapolis: University of Minnesota Press, 2007. O’Sullivan, Sean. “Broken on Purpose: Poetry, Serial Television, and the Sea- son.” Storyworlds 2 (2010): 59– 77. Pérez- Torres, Rafael. Movements in Chicano Poetry: Against Myths, against Margins. Cambridge: Cambridge University Press, 1995. Rendell, Joanne. “Drag Artists: Performativity, Subversion and the AIDS Poetry of Rafael Campo and Mark Doty.” Critical Survey 14, no. 2 (2002): 89– 100. Ríos, Alberto. “Some Thoughts on the Integrity of the Single Line in Poetry.” In A Broken Think: Poets on the Line, edited by Emily Rosko and Anton Vander Zee, 207– 10. Iowa City: University of Iowa Press, 2011. Rodriguez, Andres. “Contemporary Chicano Poetry: The Work of Michael Sierra, Juan Felipe Herrera and Luis J. Rodriguez.” Bilingual Review 21, no. 3 (September– December 1996): 203– 19. Rosko, Emily, and Anton Vander Zee, eds. A Broken Think: Poets on the Line. Iowa City: University of Iowa Press, 2011. Sánchez, Marta E. Contemporary Chicana Poetry: A Critical Approach to an Emerging Literature. Berkeley: University of California Press, 1985. Scharper, Diane. Review of The Woman I Kept to Myself, by Julia Alvarez. Library Journal, February 15, 2004, 129– 30. Seaman, Donna. “New Women’s History Books,” review of The Woman I Kept to Myself, by Julia Alvarez. Booklist, March 1, 2004, 1126. Bibliography 199

Shaw, Robert B. “Straws in the Wind,” review of Rehearsing Absence, by Rhina P. Espaillat. Poetry 180, no. 6 (September 2002): 345– 54. Shklovsky, Victor. Theory of Prose. Translated by Benjamin Sher. Elmwood Park, IL: Dalkey Archive Press, 1991. Shoptaw, John. “The Music of Construction: Measure and Polyphony in Ashbery and Bernstein.” In The Tribe of John: Ashbery and Contemporary Poetry, edited by Susan Schultz, 211– 57. Tuscaloosa: University of Ala- bama Press, 1995. Smith, Carmen Gimenéz. Goodbye, Flicker: Poems. Amherst: University of Massachusetts Press, 2012. Spears, Monroe K. “The Poetics of the New Formalism.” The Hudson Review 43, no. 4 (Winter 1991): 549– 62. Torres- Saillant, Silvio, and Ramona Hernández. The . Westport, CT: Greenwood, 1998. Toscano, Rodrigo. Deck of Deeds. Denver: Counterpath, 2012. Vela, Richard. “Daughter of Invention: The Poetry of Julia Alvarez.” Post- script 16 (1999): 33– 42. Waite, Stacey. “Rafael Campo.” In Encyclopedia of Contemporary LGBTQ Lit- erature of the United States, edited by Emmanuel Nelson, 113–15. West- port, CT: Greenwood, 2009. Wall, Catherine. “Bilingualism and Identity in Julia Alvarez’s Poem ‘Bilingual Sestina.’” MELUS 28, no. 4 (Winter 2003): 125–43. Wear, Delese, and Julie M. Aultman. “Creating Difficulties Everywhere.” Per- spectives in Biology and Medicine 50, no. 3 (Summer 2007): 348– 62. Williams, David Antoine. Defending Poetry: Art and Ethics in Joseph Brodsky, Seamus Heaney, and Geoffrey Hill. Oxford: Oxford University Press, 2010. Young, C. Dale. Torn. New York: Four Way Books, 2012. ———. The Second Person. New York: Four Way Books, 2007. ———. The Day Underneath the Day. Evanston, IL: Triquarterly Books, 2001. Index

Academy of American Poets Prize, 8 Shoplifting Louise Bogan’s Alarcón, Francisco X., 2, 12 The Blue Estuaries,” 90, 91; Alcalá, Rosa, 7; Undocumentary, 3 The Other Side/El Otro Lado, Aldama, Frederick Luis: 84, 85, 87– 97, 163; poetic, Conversations on Cognitive 85– 87; poetry received, Cultural Studies: Puzzling 84– 85; poet- voice, 94– 96, Out the Self, 31; The Routledge 97– 99, 101– 2, 104– 5, 107, Companion to Latino/a 108, 109; “Regreso,” 107– 8; Literature, 6, 10; Spilling the Something to Declare, 162; Beans in Chicanolandia, 2 “In Spanish,” 108– 9; “Spic,” Algarín, Miguel, 1 106– 7; “Storm Windows,” Alonso, Axel, 10 101– 2; “Touchstone,” 95; Alurista, 140; Floricanto en Aztlán, “Undercover Poet,” 109; 2; “Libertad,” 2 “Washing the Windows,” Alvarez, Julia, 1, 9, 10, 11, 13, 16, 100– 102; The Woman I Kept to 19, 20, 40, 113, 114, 119, Myself, 84, 104– 10, 159, 163 135, 136, 137, 138, 175; Américas, 84 “Abbot Academy,” 107– 8; “America’s Book” series, 7 aesthetics, 23, 24, 25, 26, Andrés Montoya Poetry Prize, 7 28, 29; “Arborvitae,” 106; Anzaldúa, Gloria, 2 “Beginning Again,” 92; “Did Aragón, Francisco, 8; Puerta del Sol, I Redeem Myself?,” 109– 10; 5; The Wind Shifts, 13 “Dusting, 99– 100; education, Arenas, Reinaldo: Before Night Falls, 8; employment, 8; “Family 60 Tree,” 104– 6; “First Love Arizona State University, 7, 8, 9, 18 Letter,” 94; formalism, 13, Arroyo, Rane: Primera Página: 16, 17; form and content, 85; Poetry from the Latino “Going Back to Sleep,” 95; Heartland, 5– 6 “Hanging the Wash,” 102– 3; Arteaga, Alfred, 11 Homecoming, 83, 84, 85, 90, Arte Público Press, 1 97– 103, 163; How the Garcia aural artifact, 3, 20, 25, 29, 33, 147, Girls Lost Their Accents, 83, 148, 153 87; interview, 159– 66; “The Ayala, Naomi, 7; This Side of Early, 3 Last Love Story,” 96– 97; as maker, 83– 84; “Making Up Baca, Jimmy Santiago, 10 the Past,” 90, 93; “On Not Baudelaire, Charles, 33, 86 202 Index

Beras, César Sánchez, 111, 175 “The Good Doctor,” 52– Beth Israel Deaconess Medical 53; “For Jorge after Twenty Center, 8, 33 Years,” 36; formalism, 181n25; Bilingual Press, 1 form and content, 35, 37, Bilingual Review, 7 41, 46, 48, 55, 56, 60, 63; Bishop, Elizabeth, 86, 164 “The Four Humours,” 56, 58; Blanco, Richard, 7; “América,” 3; The Healing Art: A Doctor’s City of a Hundred Fires, 3 Black Bag of Poetry, 33, 34; Booklist, 85 “Imagining Drag,” 48– Booth, Philip, 164 51; “In the Form,” 45, 46; Borges, Jorge Luis, 25, 30, 31, 37, interview, 139– 50; Landscape 164 with Human Figure, 33, 41, Boston University, 11, 33 56– 60; “Las Mujeres,” 47– 48; Boyd, Brian: Why Lyrics Last, 20 lyric format, 86; “Madonna Bread Loaf Writer’s Conference, 8, and Child,” 56– 58; as maker, 159, 161 33–34; “Melancholy,” 41, Brecht, Bertolt, 28 58, 59; metaphor, 37, 38– 39, Breslin, Paul, 15–16 47, 48, 50, 51, 59, 63, 64; Browning, Robert: “The Ring,” 86 “Mother and Daughter,” 51– Brown University, 7 52; “My Voice,” 47; “Night Bruce- Novoa, Juan, 11; Chicano Has Fallen,” 60, 61; The Other Authors: Inquiry by Interview, Man Was Me: A Voyage to 2– 3 the New World, 33, 34– 35, Byron, George Gordon Noel: “Childe 36, 41– 46, 56; “Phlegm,” Harold’s Pilgrimage,” 86 58; poetic, 36– 41; poetry received, 34– 36; poet- voice, Campo, Rafael, 1, 9, 10, 13, 16, 17, 19, 20, 65– 67, 114, 135, 136, 119; “Prescription,” 34, 52; 137, 138, 153, 157; aesthetics, “Progress,” 60, 62; “Safe Sex,” 23, 24, 25, 26, 28, 29; 34; “San Fernando,” 43, 44; “Antidote,” 34; “Belonging,” “Superman Is Dead,” 53– 54; 44; “Bile,” 58, 59; “Blood, 37, “Tuesday Morning,” 63; What 58; “Café Pamplona,” 41– 42; the Body Told, 33, 34, 36, 41, comfort zone, 40; Cubanidad, 46– 56, 183n102; “What the 34, 41, 45, 46, 47; “Dawn, Body Told,” 35; “You Bring New Age,” 62; The Desire to Out the Doctor in Me: After Heal: A Doctor’s Education in Sandra Cisneros,” 62 Empathy, Identity, and Poetry, Candelaria, Cordelia, 11 33; Diva, 33, 41, 56– 60; Canto Cosas, 7 education, 11, 33; employment, Caplan, David, 15– 16; Dictionary of 8; The Enemy, 33, 36, 41, 55, Literary Biography, 35 56, 60– 64; “In English That Caplan, David, 15– 16; Dictionary Is Spanish,” 54, 56; ethnicity, of Literary Biography: New 11; formalism, 15, 16, 181n25; Formalist Poets, 35 Index 203

Cárdenas, Brenda: Between the Escudé, Alejandro: “After the Heart and the Land/Entre el Country’s Collapse,” 5; “Early corazón y la tierra, 6 Morning Disturbance,” 5; Carnegie- Mellon, 7 Unknown Physics, 5; Where Else Casal, Lourdes, 2 but Here, 5 Castillo, Ana: The Mixquiahuala Espada, Martín, 4, 11; El Coro, 6 Letters, 9; So Far From God, 9 Espaillat, Rhina P., 1; “Bodea,” Cervantes, Lorna Dee, 2 117– 18, 123; “Driving through Christophersen, Bill: Where Horizons It,” 171; “Easy Words,” 126; ethnicity, 166– 67; “For Evan, Go, 113 Who Says I Am Too Tidy,” Cinco Puntos Press, 1, 7 114; “Eyes,” 126– 27; “Find Cisneros, Sandra, 161, 164 Work,” 129– 30; form and Clampitt, Amy, 143 content, 126, 173, 176; Her Cofer, Judith Ortiz, 2 Place in These Designs, 111, Colón, David, 8, 13 113, 128– 33, 167; “On the Columbia University, 8 Impossibility of Translation,” Contla, Reuben, 10 132– 33; “In That Old Dream Cordova, Steven, 12; Long Distance, 4 Again,” 128; Lapsing to Corot, Jean- Baptiste- Camille, Grace: Poems and Drawings, 130– 31 111, 114– 18, 123; as maker, Corpí, Lucha, 2, 12, 175 111– 12; “Marginal,” 127; Corral, Eduardo C.: “Border “The Master Explains,” 122; Triptych,” 4; Slow Lightning, 4 metaphor, 123, 168, 169; Cortez, Sarah, 7; How to Undress a Mundo y Palabra/The World Cop, 4 and the Word, 111; “Nothing couplet, 37, 56, 57, 181n26 New,” 130; “November,” 174; “People in Home Movies,” Damon, Maria, 11 125– 26; “Pig,” 116, 117; Dawson, Erica, 15 Playing at Stillness, 111, Day, Kay, 114 125– 27, 174; poetic, 113– 14; poetry received, 112– 13; Daydí- Tolson, Santiago: Five Poets of poet- voice, 114– 33; “Psyche Aztlán, 5 Revised,” 121; “Rachmaninoff DC comics, 10 on the Mass Pike,” 120– 21, de la Torre, Mónica: Public Domain, 3 168; “Reading Vermeer,” Díaz, Junot, 10, 112; The Brief 118– 19; “Refraction,” 124– 25; Wondrous Life of Oscar Wao, 9 Rehearsing Absence, 111, 112, Disch, Tom, 14 121– 22; “Replay,” 128– 29; Donne, John, 156– 57 “Review,” 120; “September,” Dubrow, Heather, 67 116; The Shadow I Dress In, DuPlessis, Rachel Blau: Blue Studios: 111, 122– 25; “Six of One,” Poetry and Its Cultural Work, 119– 20; The Story- Teller’s 17; “Manifests,” 17, 39 Hour, 111; “Tapping the 204 Index

Espaillat, Rhina P. (continued) Girmay, Aracelis, 6, 8; Kingdom Glass,” 116; “Tooth Poem,” Animalia, 4; “Mi Muerto,” 4; 122– 23; “Translating,” 131– “Science,” 4; Teeth, 4 32; “Translation,” 123; Troves Gomez, Gabriel, 4, 8 of the Sea, 111; “Unison,” González, Ray, 7; Consideration of 114– 15; “Warning,” 125; the Guitar, 3 Where Horizons Go, 111, 113, Gonzalez, Rodolfo “Corky,” 2, 140 114, 118– 21, 166, 171, 173, González- Gerth, Miguel, 13 Goytisolo, Juan, 36 174, 176; “Why Publish,” 176; “You Call Me by Old Names,” Hacker, Marilyn, 143, 144, 153 117, 123 Hadas, Rachel, 15– 16 Espinoza, John O., 8, 18– 19; The Harmon, William, 30, 85– 86 Date Fruit Elegies, 5, 9 HarperCollins, 10 Esteves, Sandra María, 2, 175 Harrison, Roberto: Os, 22; “An Hispanic Identity Meaning Fagan, Kathy, 18 Switches and False Twos,” 22 feminism, 1, 2, 163 Harvard Medical School, 11, 33 Ferguson, Michael: The Second Harvard University, 8 Person, 66 Henderson, S. W., 34– 35 Fernandez, Roberta: In Other Hennessy, Christopher, 33, 37 Words: Literature by Latinas of Herbert, George: “The Flower,” the United States, 171, 175 95, 164 Floricanto, 1 Herrera, Juan Felipe, 2, 9, 12 Florida Atlantic University, 8 Hijuelos, Oscar, 10 formalist poetics: as part of unified Hogan, Ernest: Cortez on Jupiter, theory of aesthetics, 23–32; 9; High Aztech, 9 Russian, 27, 30, 136. See also Hogan, Patrick: Conversations on New Formalism Cognitive Cultural Studies: , 3, 5, 13, 14, 15, 16, 36, Puzzling Out the Self, 31 Homer, The Iliad, 86, 136; The 41, 58, 59, 62, 63, 85, 124, Odyssey, 32, 86, 136, 162 129, 155, 160, 161, 169, 170, Howard Nemerov Sonnet 176 Award, 111 Fresh Meadows Poets, 8, 175 Huddle, David, 160 Fried, Debra, 19 Hudgins, Andrew, 15 Humboldt, Alexander, 137 Gilbert, Sandra M., 84 Humboldt, William, 137 Gilgamesh, 32, 165 Gioia, Dana, 15, 16, 20, 35; Indiana Review, 7 Can Poetry Matter?, 14; Indiana University, 8 Literature: An Introduction to Inguito, Scott: lection, 3 Fiction, Poetry, Drama, and International Award, 10 Writing, 35 Iowa Writers’ Workshop, 8, 9 Index 205

Jacques, Ben, 84 McHale, Brian, 17, 18, 19– 20; Jakobson Roman, 30 “Beginning to Think about Jimenez, Neil, 10 Narrative in Poetry,” 179n74 Johnson, Mark, 38 Meredith, William, 145, 164 Johnson, Michelle, 14 Mesilla Press, 7 Josephine Miles Literary Award, Middlebury College, 8 10, 83 Millay, Edna St. Vincent, 29, Journal of Medical Humanities, 35 86, 174 Justice, Donald, 15, 79 Millet, Jean Francois, 130 Milosz, Czeslaw, 104; “Early Krisak, Ken, 112 Morning Disturbance,” 5; “Love,” 165 Lake, Paul: Her Place in These Modernism, 15, 33, 104, 142, 143, Designs, 113 161 Lakoff, George, 38 Momotombo Press, 7 Lalo Press, 1 Montoya, José, 4 Lambda, 35 Moraga, Cherríe, 2 Latino Writers Collective, 5 Morrison, Toni, 26 Latino Writers Lab, 10 Murillo, John, 6, 8; Up Jump the Leonard, Elmore: The Complete Boogie, 4 Western Stories of Elmore Leonard, 179n74 National Book Circle Critics Library Journal, 35, 84 Award, 10 Lima, José Lezama, 40 National Endowment for the Limón, Ada, 8; Lucky Wreck, 5 Arts, 10 Limón, José, 11– 12 Nava, Michael, 9 Literature and Medicine, 35 Nelson, Marilyn, 14 Lopez, Dagoberto, 175 Neruda, Pablo, 55, 164 López, Miguel: Chicano Timespace: New England Review, 7, 65 The Poetry and Politics of New Formalism, 13– 16, 35, Ricardo, 12 142, 153 López, Monxo: Hi- Density New Mexico State University, 7 Politics, 3 New York Times, The, 122 Lorca, Federico García, 55 New York University, 8 Luis, William, 11 Noel, Urayoán, 6, 8, 13; High- Density Politics, 3; Kool Logic March, Thomas, 35–36 Sessions, 3 Martínez, Dionisio D., 7, 10; Noemi Press, 7 Climbing Back, 3– 4 Nuyorican Poets Café, 1 Marvel comics, 10 Mason, David, 14 Ortiz, Judith, 2 Mason, Herbert, 165 Ortiz, Ricardo, 66; Cultural Erotics Mayakovsky, Vladimir, 33; A Cloud in Cuban America, 34 in Trousers, 54 Ovid: Metamorphoses, 156 206 Index

Pau- Llosa, Ricardo: Parable Sánchez, Marta, 11; Contemporary Hunter, 3 Chicana Poetry, 12 Paz, Johanny Vázquez: Between the Sánchez, Ricardo, 12 Heart and the Land/Entre el Scharper, Diane, 84 corazón y la tierra, 6 Schnackenberg, Gjertrud, 14, 15 Peacock, Molly, 15 School Library Journal, 85 PEN Oakland, 10, 83 Seaman, Donna, 85 Pérez, Emmy, 7; Movements in segmentation, 17, 18, 19– 20, 21, Chicano Poetry, 12; Solstice, 3 23, 29, 39, 58, 62, 70, 71, 74, Pérez- Torres, Rafael, 11 90, 96, 137, 179n74 Phillips, Carl, 155 sestina, 5, 19, 113, 120, 125, 154, Pietri, Pedro, 1, 140 155, 163, 173 Piñero, Miguel, 1, 140 Seth, Vikram, 14, 15; Golden Pinsky, Robert, 11, 143 Gate, 29 Plume, 84 Shaw, Robert B., 112 Poe, Edgar Allen, 86 Shklovsky, Victor, 27– 28, 30, 37, 38 Poetry Wars, 14, 16 Shoptaw, John, 19 Poet Society of America, 112 Smith, Carmen Giménez, 4, 7, Pompa, Paul Martínez, 7, 8, 13; 8; Goodbye, Flicker: Poems, 4; My Kill Adore Him, 4 “Mother, Mother,” 5 Powow River Poets, 8, 111, Sobek, María Herrera, 11 174, 175 sonnet, 5, 12, 21, 28, 31, 51, 55, prose poetry, 4, 13, 14, 18, 21, 56, 109, 112, 117, 126, 140, 36, 90 142, 143, 144, 145, 154, Publishers Weekly, 35, 66, 84– 85 160, 173, 183n102; English, Puerto del Sol, 7 19, 37, 39, 40– 41, 45– 46, 181n26; Italian, 181n26. See queer poetics, 2, 34, 35, 40– 41, also Howard Nemerov Sonnet 42– 43, 48– 49, 57, 60, 140, Award 143, 144 Southern Review, 66 Quesada, Joe, 10 Spears, Monroe K., 14– 15, 16 Stallings, A. E., 14, 153 Rayo Press, 10 Stanford University, 8 Rendell, Joanne, 35 Steele, Timothy, 14 Award, 111, 112 Stevens, Wallace, 127; “Anecdote of Rimbaud, Arthur, 86, 159 the Jar,” 160 Ríos, Alberto, 9, 18– 19 Stevenson, Ruth, 107 Rodriguez, Andres, 12 St. Mary’s College, 8 Rodriguez, Luis, 12 St. Vincent Millay, Edna, 29, 86, Rodriguez, Robert, 10, 179n74 174 Rosko, Emily, 18 Suárez, Virgil, 2 Syracuse University, 8, 160 Sada, Daniel, 29 Salter, Mary Jo, 14, 15 Tafolla, Carmen, 8; Rebozos, 4 Index 207

Texas A&M, 7 Warren, Rosanna, 143 Third Woman Press, 1 Warren Wilson College, 8, 65 Tonatiuh- Quinto Sol (TQS), 1 Wesley University, 8 Torres, Edwin: In the Function of Williams, David- Antoine: Defending External Circumstances, 4 Poetry, 38 Torres- Saillant, Silvio, 112, 168 Williams, William Carlos, 38, 65, Toscano, Rodrigo, 21; Collapsible 69, 71, 72, 73, 102, 157; “A Poetics Theater for Sustainable Note on Poetry,” 67– 68; “The Aircraft, 3; Deck of Deeds, 21; Red Wheelbarrow,” 67–68, 70 “Los Exploradores,” 21–22 Wiman, Christian, 14 Tri- Quarterly, 66 Wings Press, 7 T. S. Elliot Prize, 113 Wynters, Ivor, 25 Tupelo, Southern Illinois University, 7 Yale Review, 66 Yale Younger Poets Prize, 4 University of California: Davis, 8; Young, C. Dale, 1, 6, 7, 9, 10, 16, Riverside, 9 17, 19, 20, 40, 86, 114, 135, University of Florida, 8, 65 136, 137, 138; aesthetics, 23, University of Houston, 4 23, 24, 25, 26, 28, 29, 32; University of Notre Dame, 7, 8 “The Apprentice,” 75– 77; University of Southern California, 7 “Blue Springs, 73– 74; “The University of Texas, 8 Bridge,” 80; “Complaint of the Medical Illustratory, 71–73; Valdes, Alisa (aka Valdes- The Day Underneath the Day, Rodriguez): The Dirty Girls 65, 68– 77, 158; education, 11; Social Club, 9 employment, 8; ethnicity, 11, Vander Zee, Anton, 18 150; form and content, 68, 76; Vega, Bernardo, 2 “Fourteen,” 79– 80; “Homage Vela, Richard, 84, 85 to William Carlos Williams,” visual artifact, 3, 18, 20, 21, 25, 29, 68– 71; “Imprimatur,” 81– 82; 33, 86, 102 interview, 150– 59; as maker, 65; metaphor, 66; “The Waite, Stacey: Encyclopedia of Philosopher in Florida,” 74– 75; Contemporary LGBTQ poetric, 66– 67; poetry received, Literature of the United States, 65– 66; poet- voice, 102, 119; 35, 181n25 “Prognosis,” 77–78; The Second Walcott, Derek, 11, 143, 144, 150 Person, 65, 66, 77– 79, 158; Wall, Catherine E., 88; segmentation, 82; “Σ,” 78– 79; “Bilingualism and Identity in Torn, 65, 66, 79– 82 Julia Alvarez’s Poem ‘Bilingual Sestina,’” 85 Zapata, Luis, 36