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This paper examines the significance of soundscapes in the Tamil American poet Divya Victor's reconstruction of the archive of anti-South Asian violence in her acclaimed poetry collection Curb (Nightboat Books, 2021). Being a continuation of the poet's investigation of the limits of conceptual and "documental" poetics (Michael Leong), advanced in her Natural Subjects, UNSUB and Kith, Curb appropriates public and personal records to critique discrimination against the South Asian community in America's post-9/11 political landscape. Victor's poetics enact extreme witnessing, reestablishing the archive's unheard durations that her modality of the lyric upholds, and recovering locutions of the Indian diaspora eroded or erased by anti-immigrant and anti-Asian racism. Tracing the dynamics of location and locution at the sites of violent events as well as their barely audible frequencies registered in the sequence "Frequency (Alka's Testimony)," I argue that the archive's duration in Curb is extended by forms of "sonic agency" (Brandon LaBelle). I further show how, through the poetic work of hearing and sounding (including such techniques as echolocation and ventriloquy), Victor creates a simultaneously critical and lyrical space akin to auditory experience where the text's multiple durational vectors throw into sharp relief the lives "curbed," diminished, or destroyed by wounding, fear, and trauma, testifying to the extremity of the very act of witnessing. Finally, focusing on opacity as a fundamental quality of the archive, I also turn to Carolyn Chen's concrète sound compositions and Amarnath Ravva's assemblages that traverse Curb, accompanying the poet in collaborative hearing of the archive's spatial, temporal, and sonic dynamics. [ABSTRACT FROM AUTHOR]

Emily Dickinson, the famous 19th-century American poet with a passion for books, botany, and gardens, spent most of her life secluded in her bedroom, where she wrote some 1,800 poems, published only posthumously. Within four walls, the poet built an imaginary bridge between the real and the unreal. One of the most important characteristics relating to the poet is the unwitting creation of an immanent authorial mythology. This article is an analysis-reflection on the poet's work, her artistic expression, and autofiction. The aim is to highlight the concept of boundary and medial state of the lyrical persona. A linguistic analysis of lexical and semantic syntagms of the poet's works is carried out. The conceptual images of poetics, conveying the receptive potential of the poet's worldview, are determined. Consideration of the use of stylistic forms of the poetic narrative was revealed as a priority for media-oriented analysis. [ABSTRACT FROM AUTHOR]

Following the publication, in 2018, of a consistent part of Sylvia Plath's correspondence, scholars interested in her complex biographical and literary story found new opportunities to read the American poet in a new light. I shall explore the letters she sent to her psychiatrist, Dr. Ruth Beuscher, while also critically observing their relevance in understanding Plath's oeuvre. [ABSTRACT FROM AUTHOR]

This suite of short poems with Latin American references draws from original versions written in Spanish in 2008 and early 2011. It follows on from other poems with Latin American references written by the poet in languages other than Spanish as part of the poet's interest in 'trilingual poetics.' Spanish is not the first language of the writer nor is the poet of Latin American heritage. It is part of a corpus of poems which aims to explore the potentialities of multiple language perspectives associated with or derived from a single poetic theme or set of themes. It is also part of the poet's explorations of what can be derived from some identification as a poet 'of the south.' [ABSTRACT FROM AUTHOR]

Influenced by Virginia Woolf pain is traditionally believed to be a private object that defies language. However, our analysis of classical and contemporary works of British and American poets, in addition to our own clinical experiences, leads us to challenge this notion. In accordance with Wittgenstein we instead view pain as a concept and objective experience that should encourage interaction. Reasons why patients and healthcare providers often assume language to be insufficient to grasp the complexity of pain are manifold. Based on neuro-cognitive mechanisms we propose an important contributor might be that patients in pain speak a different language than their pain-free peers and doctors. [ABSTRACT FROM AUTHOR]

The article is a comparative study of the ways in which two American modernist poets bound by a literary and human connection, Hart Crane and Yvor Winters, dealt with Emily Dickinson's legacy in their own works. My study is an attempt to place Crane within the legacy of the American Renaissance as represented not by Walt Whitman, with whom he is customarily associated, but by Dickinson, and to examine the special place she holds in Crane's poetry and in his thinking about poetry and the world at large. Crane's poetic take on the Amherst poet is set against and complemented by his friend Yvor Winters's ambiguous relationship with Dickinson's heritage: troubled by an anxiety of influence, Winters, the poet-critic, vacillates between his reverence for the female poet and his skepticism about certain aspects of her œuvre. In the close readings of the poems in question undertaken in my study, the focus is on their metapoetic dimension. Particular emphasis is laid on the dialectics of silence, which plays a key role in both Crane's and Winters's works under discussion, as well as on the related themes of blankness and absence, poetic plenitude and perfection. Attention is also given to the problematics of death, time and timelessness. While Winters concentrates mostly on metapoetics in his exploration of the Dickinsonian tradition, Crane goes further, considering the fate of female artists and gender issues, thereby transcending poetic self-reflexiveness and addressing farther-reaching community concerns, with particular emphasis on anti-patriarchal and feminist ones. [ABSTRACT FROM AUTHOR]

In the global spread of religions and philosophical thoughts, translation is always at the forefront. In the case of Buddhism, the typical image is that of learned intellectuals or scholarly monks assiduously working on the interpretation and translation of important words and concepts across cultures. But there are also other forms of Buddhist translation at work exerting a less visible, but no less important impact on the reception of Buddhism. This paper discusses American poet Sam Hamill's translation of one of Li Bai's renowned poems and argues that this form of translation is co-influenced by Hamill's dual identities of literary translator and Zen practitioner. As a result, it not only provides new understanding to the source culture, but also adds variety to the Buddhist literature of the target culture. [ABSTRACT FROM AUTHOR]

In My Kill Adore Him, Mexican American poet Paul Martínez Pompa uses the realm of sexuality as a lens through which to explore the ideological, social, and affective shifts that have accompanied the rise of late capitalism in the U.S., thereby echoing the work of the renowned Black feminist scholar and poet Audre Lorde. In these poems, Martínez Pompa implies that our experience of neoliberalism has resulted in our affective withdrawal from politics, which he allegorizes as a decline in our libidos, as well as a distancing from what Slavoj Žižek describes as the Real of the body. He then examines the impact that neoliberalism has had in Latin America, pointing to the way in which free trade has forced many Latin American migrants to flee to the U.S., no matter the cost of the journey. In his final poem on life in the maquiladora, the poet depicts the suffering of workers while alluding to the ethically questionable economic ties that bind arduous Latin American labor to U.S. consumerism and consumption. In this poem, Martínez Pompa takes up the issue of Žižek's concept of virtualization, conveying the way in which our geographically and financially remote vantage point in the U.S. keeps us largely inured to the suffering of those most impacted by the economic system of late capitalism. While he provides no answers, by drawing our attention to the fact of our own indifference, Martínez Pompa brings us one step closer to actual engagement in the events of the world. [ABSTRACT FROM AUTHOR]

The Pisan Cantos is the most notorious section of Pound's masterpiece The Cantos, which was named after the concentration camp of Coltano, near Pisa, where Pound was imprisoned by the US army after the fall of Italian Fascism. There, the exiled American poet was detained in the infamous 'gorilla cage' because of his propagandist activity in favour of Mussolini and his regime, for which he was indicted for treason against his own homeland. Despite his inhuman treatment, Pound wrote there some of the most renowned and appreciated verses of the twentieth century, worthy of the first Bollingen Prize as awarded to him in 1949 by the Fellows in American Letters of the Library of Congress. Apart from their undisputable artistic value, praised for decades by critics, these verses also attained an important political function, inspiring generations of fascist intellectuals and activists. This article aims to shed further light on this political relevance by uncovering archival material not yet analysed by scholars. [ABSTRACT FROM AUTHOR]

In this interview, Indian-American poet Saleem Peeradina discusses the effects of immigration on his writing, his writing process, the relationship between his academic and literary work, his advice to younger poets, the challenges faced by poets writing in the diaspora, and other topics. [ABSTRACT FROM AUTHOR]

An essay is presented on the notes from the workshop of the American poet Richard Hugo at Canon Beach in Oregon. It states that all the notes from the Hugo's classes were taught at the University of Montana in Missoula, Montana from the fall of 1978 through the spring of 1980. It mentions that one of the notes from the workshop cites that all the things are belong in the world of imagination.

An essay is presented on the author's insights on the works of the American poet Richard Hugo. The author states that Hugo recited Italian war poem and Duwamish River poems at the Gonzaga University in 1975. He notes the book of Hugo "The Lady in Kicking Horse Reservoir." He also mentions the former teacher and mentor of Hugo at the University of Washington, Franz Schneider.

This paper borrows the term 'whole fragment' from American poet and scholar Ann Lauterbach and utilizes it in a consideration of Lea Goldberg's posthumously published poetry collection The Remains of Life. In contrast to the traditional fragment, which laments in its very presence a lost whole, the whole fragment acknowledges and foregrounds its incompleteness as essential and intrinsic to its own poetic essence and statement. Through close analysis of select poems, this paper argues that the whole fragment was a purposeful development away from closed form in Goldberg's poetics, a development already in evidence in With this Night but articulated more radically and fully in the poems of The Remains of Life. I argue that these final poems are among Goldberg's most accomplished in their very threshold nature, in their precarious negotiation and unflinching recognition of language's limits, represented in form as much as in content. [ABSTRACT FROM AUTHOR]

The article discusses the connections in the works of American poet Henry Timrod and Alfred, Lord Tennyson. Maud Dickson, in his 1886 article, described Timrod as the Tennyson of South Carolina while in a 1893 "The Sewanee Review" by Henry E. Shepherd, Timrod's writing was compared to that of Tennyson in the latter's "In Memoriam." Timrod's version of Arthur's Knights of the Round Table follows the same formula as the southern warriors also do observe a code of behavior like honor and truth without stain, which echoes the values in Tennyson's work. According to the author, the works of Timrod spoke on behalf of the white South and immortalizes not only himself, but also his South.

An essay is presented on the relationship between authors Edgar Allan Poe and Henry Wadsworth Longfellow. It examines Poe's criticism of Longfellow, his accusations of plagiarism against Longfellow, and his predictions concerning Longfellow's future popularity. The author considers Poe's assessment of Longfellow's novel "Hyperion" and comments on Longfellow's epic poem "Evangeline" and Poe's short story "Ligeia."

The article examines history, literary and social contexts in the works of Asian American poets. Li-Young Lee uses humor to depict the problems faced by immigrants in his book "Behind My Eyes." It claims that abstraction is evident in majority of Mei-mei Berssenbrugge's poems which could be a result of her interest in visual arts. John Yau uses popular culture to connect with young audience and believes that repetition does not hinder creativity.

Several letters to the editor are presented in response to articles in previous issues including one on Carlos Moore, one on the collection of poetry from American poets, and one on the historical narrative of Dingane also known as Jose Goncalves.

In the introduction to Quid 11: Three U.S. Poets (November 2002), Keston Sutherland wrote, “One considerable and vital task now facing U.S. poets … might be a confrontation with abstraction per se.” In the context of political poetry, this speaks to two important questions: first, how the individual is to be portrayed as a political subject by the avant-garde; second, what is the role of form in that portrayal? This essay will explore these questions through a detailed reading of Eléna Rivera's sequence Mistakes, Accidents, and a Want of Liberty (Barque Press, 2006). At first sight, Mistakes reads as a coded series of meditations in an associative order which give the reader the feeling of being abandoned into the text. However, Googling the opening poem's title, “thinking of my life, I almost forgot my liberty”, takes the reader straight to the nineteenth-century autobiography of slavery, escape and freedom The Narrative of the Life of Frederick Douglass (1845). This connects Rivera's sequence and the reader with one of the moments when a new type of individual-as-political-subject enters literature. An important part of Frederick Douglass's story involves learning to read and write at a time when slaves were forbidden to do so. In this context, Rivera is opening an argument about how the political subject is constructed and portrayed in language. We will argue, then, that through its intertextual relationship with The Narrative of the Life of Frederick Douglass and with other texts such as King Lear, Rivera's sequence offers revitalizing strategies not only for portraying the subject but for writing and reading politically. In this way, Mistakes, Accidents, and a Want of Liberty suggests ways of thinking, writing and reading outside what one poem calls “The limits … of ‘you’ as reflection, of ‘you’ as reaction”. [ABSTRACT FROM PUBLISHER]

The article discusses American poet Muriel Rukeyser, her poems “Ajanta” and "Wake Island," as well as the crisis of American poetry in the 1940s and 1950s, focusing on issues associated with Rukeyser's writing career during the period. The essay entitled “Grandeur and Misery of a Poster Girl” which appeared as a poetry review in a 1943 issue of "Partisan review," as well as other contemporary criticisms of Rukeyser, are considered. Some of the subjects explored include Modernism, Americanism, World War II and literature, and the political aspects of mid-century American poetry.

The article discusses the influence of the "Indian Journals" on the rebirth of American poet Allen Ginsberg as a social revolutionary. It claims that Ginsberg has differing political opinions with his spiritual teacher Jack Kerouac and former lover William S. Burroughs. It cites several works of Ginsberg including "Howl," "Lysergic Acid," and "Mescaline."

The article discusses author's views on the poetic works of George Oppen, an American poet and examines the vitality of language use and other necessary things while writing a poem. According to him Oppen's poetry reused the techniques of his first book for a morally reaffirmed purpose. Oppen is an unlikely mentor for an ambitious poet and his work in American poetry has been an accommodating category. Oppen was unvarying in his detention to counter linguistic corruption.

The current paper deals with the whole imagination of race in the work of a major American poet. The very subject of race intersects with the question of national identity, also neglected in Bishop's work, although not in the same way. The aim of the discussion is to align the racial text with the national text. How can we understand Bishop's consistent interest in race throughout her poetry, and what effect can be observed in it as a result of her exposure to racial constructs in Brazil that are so different from those of her native United States? We can see this effect manifest even in the controversy over her 1965 magazine article on the quatercentenary of Rio de Janeiro. What does this controversy demonstrate, finally, but that national experience with respect to race turns out to be mutually exclusive? One cannot be in this respect both Brazilian and American-in prose. In poetry, however, it is quite another matter. The subject of race is all of a piece, and has been all along conducted in Bishop's work according to a logic ultimately apart from national construction. [ABSTRACT FROM AUTHOR]

This article discusses the claim to openness pervasive to the language of the Language Poets and the tendency for this to obscure closures of its open texts. The author uses poet Lyn Hejinian as an example. He points out that for Hejinian, total linguistic transparency, in which language and the world correspond perfectly, is associated with the term paradise. It notes that openness and closure remain in dialectic tension in Hejinian's poetry, and draws on her body of essays to document this.

Presents an interview with poet Rae Armantrout. When asked why her most recent volume, "Next Life," might seem more unified than her previous books, she says she was writing faster, which means poems are coming from the same situations more often. She states the the Biblical language in the volume may relate to her religious upbringing, inspired by the loss of her mother. She discusses having learned since her fundamentalist childhood about more sophisticated interpretations of the Bible.