Dalton was one of the most influential poets and political writers in Latin America. In this book, written just before his assassination, he invents five poets who express their different concerns about the oppressive situation in El Salvador.
I Am the Beggar of the World presents an eye-opening collection of clandestine poems by Afghan women. Because my love's American, blisters blossom on my heart. Afghans revere poetry, particularly the high literary forms that derive from Persian or Arabic. But the poem above is a folk couplet—a landay, an ancient oral and anonymous form created by and for mostly illiterate people: the more than 20 million Pashtun women who span the border between Afghanistan and Pakistan. War, separation, homeland, love—these are the subjects of landays, which are brutal and spare, can be remixed like rap, and are powerful in that they make no attempts to be literary. From Facebook to drone strikes to the songs of the ancient caravans that first brought these poems to Afghanistan thousands of years ago, landays reflect contemporary Pashtun life and the impact of three decades of war. With the U.S. withdrawal in 2014 looming, these are the voices of protest most at risk of being lost when the Americans leave. After learning the story of a teenage girl who was forbidden to write poems and set herself on fire in protest, the poet Eliza Griswold and the photographer Seamus Murphy journeyed to Afghanistan to learn about these women and to collect their landays. The poems gathered in I Am the Beggar of the World express a collective rage, a lament, a filthy joke, a love of homeland, an aching longing, a call to arms, all of which belie any facile image of a Pashtun woman as nothing but a mute ghost beneath a blue burqa.
When late seventeenth-century readers wanted to inform themselves about happenings at the centres of power and fashion they had no newspapers or gossip columns to fall back on. Instead they turned to lampoons - frank, malicious, and often highly indecent accounts in verse of the real or fabricated goings on of the court and ruling elite. Harold Love presents the first comprehensive account of the thousands of lampoons and more serious `state poems' that survive from RestorationEngland and their impact on the life of the nation and the literary practice of satire.
“To read these poems is to be reminded again and again of our true allegiance to each other.” —from the introduction by Julia Alvarez With a powerful and poignant introduction from Julia Alvarez, Resistencia: Poems of Protest and Revolution is an extraordinary collection, rooted in a strong tradition of protest poetry and voiced by icons of the movement and some of the most exciting writers today. The poets of Resistencia explore feminist, queer, Indigenous, and ecological themes alongside historically prominent protests against imperialism, dictatorships, and economic inequality. Within this momentous collection, poets representing every Latin American country grapple with identity, place, and belonging, resisting easy definitions to render a nuanced and complex portrait of language in rebellion. Included in English translation alongside their original language, the fifty-four poems in Resistencia are a testament to the art of translation as much as the act of resistance. An all-star team of translators, including former US Poet Laureate Juan Felipe Herrera along with young, emerging talent, have made many of the poems available for the first time to an English-speaking audience. Urgent, timely, and absolutely essential, these poems inspire us all to embrace our most fearless selves and unite against all forms of tyranny and oppression.
COMING SOON! San Francisco's first Latino poet laureate offers new poems written in the native tongue of contemporary America: English-and-Spanish.ALERT ME WHEN THE BOOK BECOMES AVAILABLE
The Poetry of the Americas offers a lively and detailed history of relations among poets in the US and Latin America, spanning three decades from the Good Neighbor diplomacy of World War II through the Cold War cultural policies of the late 1960s. Connecting works by Martín Adán, Elizabeth Bishop, Paul Blackburn, Jorge Luis Borges, Julia de Burgos, Ernesto Cardenal, Jorge Carrera Andrade, Allen Ginsberg, Langston Hughes, José Lezama Lima, Pablo Neruda, Charles Olson, Octavio Paz, Heberto Padilla, Wallace Stevens, Derek Walcott, William Carlos Williams, and many others, Feinsod reveals how poets of many nations imagined a "poetry of the Americas" that linked multiple cultures, even as it reflected the inequities of the inter-American political system. This account offers a rich contextual study of the state-sponsored institutions and the countercultural networks that sustained this poetry, from Nelson Rockefeller's Office of the Coordinator for Inter-American Affairs to the mid-1960s avant-garde scene in Mexico City. This innovative literary-historical project enables new readings of such canonical poems as Stevens's "Notes Toward a Supreme Fiction" and Neruda's "The Heights of Macchu Picchu," but it positions these alongside lesser known poetry, translations, anthologies, literary journals and private correspondences culled from library archives across the Americas. The Poetry of the Americas thus broadens the horizons of reception and mutual influence--and of formal, historical, and political possibility--through which we encounter midcentury American poetry, recasting traditional categories of "U.S." or "Latin American" literature within a truly hemispheric vision.
This indispensable work for Tamil love poetry of South India deals with the relationship between the oldest grammar and poetics, "Tolk ppiyam," and the ancient literature ("Sangam" literature) of the 1-3 C. A.D., providing the original meanings and historical changes of many technical terms of love poetry.
A father revealed as a spy, a child unmoored from normalcy--in Safe Houses I Have Known, poems ripple with the secrets that we keep from ourselves and each other.
Poets and Prophets of the Resistance offers a ground-up history and fresh interpretation of the polarization and mobilization that brought El Salvador to the eve of civil war in 1980. Challenging the dominant narrative that university students and political dissidents primarily formed the Salvadoran guerrillas, Joaquín Chávez argues that El Salvador's socioeconomic and political crises of the 1970s fomented a groundswell of urban and peasant intellectuals who collaborated to spur larger revolutionary social movements. Drawing on new archival sources and in-depth interviews, Poets and Prophets of the Resistance contests the idea that urban militants and Roman Catholic priests influenced by Liberation Theology single-handedly organized and politicized peasant groups. Chávez shows instead how peasant intellectuals acted as political catalysts among their own communities first, particularly in the region of Chalatenango, laying the groundwork for the peasant movements that were to come. In this way, he contends, the Salvadoran insurgency emerged in a dialogue between urban and peasant intellectuals working together to create and execute a common revolutionary strategy--one that drew on cultures of resistance deeply rooted in the country's history, poetry, and religion. Focusing on this cross-pollination, this book introduces the idea that a "pedagogy of revolution" originated in this historical alliance between urban and peasant, making use of secular and Catholic pedagogies such as radio schools, literacy programs, and rural cooperatives. This pedagogy became more and more radicalized over time as it pushed back against the increasingly repressive structures of 1970s El Salvador. Teasing out the roles of little-known groups such as the politically active "La Masacuata" literary movement, the contributions of Catholic Action intellectuals to the New Left, and the overlooked efforts of peasant leaders, Poets and Prophets of the Resistance demonstrates how trans-class political and cultural interactions drove the revolutionary mobilizations that anticipated the Salvadoran civil war.
Insightfully links the impact of U.S. foreign policy on the people of Latin America, the female voice in art and literature, and the need to break the silence around incest and other abuse.