Poetry and Sociality in a Global Frame

Abstract

Poetry and Sociality in a Global Frame Walt Hunter (bio) Dowdy, Michael. 2013. Broken Souths: Latina/o Poetic Responses to Neoliberalism and Globalization. Tucson: University of Arizona Press. $30.00 sc. 296 pp. Furani, Khaled. 2012. Silencing the Sea: Secular Rhythms in Palestinian Poetry. Stanford: Stanford University Press. $55.00 hc. 312 pp. A formidable hermeticism has long held sway over Anglophone poetry criticism. While criticism of other literary genres expands its grasp, most notably into new sociological approaches to literature, knowledge of the tropes and schemes of poetry serves as a border check for those interested in poetic criticism, slowing contemporary poetry’s reception, inhibiting pedagogy, and operating in general like a canon of revealed truths. Generally speaking, to read poetry means to learn the history of poetic devices and to recognize the various appearances (or absences) of this history in an individual poem: why a line break works the way it does, why a metaphor appears where it does. But these claims about poetic design do not only represent a neutral language specific to literary study or a convenient mechanism for distinguishing between traditional and avant-garde strands of poetry. By attributing a private and individual, rather than global and material, foundation to the aesthetics of poetry, such claims also prevent poetry from being recognized as a social form. As a result, canonical notions of line, verse, and enjambment are theorized as though poetry developed and continues to develop in monastic seclusion from the political economies and emergent precarities of modern global capitalism. [End Page 129] No sustained analysis exists in which the history of poetry and poetics is reread in the light of the history of globalization. Books on Anglophone poetry in particular have been cautious in adopting a postcolonial, global, or transnational critical perspective and, in general, complacent in upholding the immutable value of a small set of formal devices and traditions. Within this tradition, however, there are critics who are moving toward a global and socially attuned poetics. Jahan Ramazani’s The Hybrid Muse (2001) and A Transnational Poetics (2009) link poetic tropes of metaphor and figures of irony with theories and themes of hybridity, migration, and exile in postcolonial Anglophone poetry. After Ramazani, the Jamaican poets Claude McKay and Louise Bennett can no longer be treated as marginal, neither to postcolonial studies nor to poetry, while the Irish poet W. B. Yeats and the Trinidadian poet Derek Walcott, who are already the subjects of a voluminous critical corpus, appear newly relevant. Focusing on the late nineteenth century, Virginia Jackson’s Dickinson’s Misery: A Theory of Lyric Reading (2005) calls attention to the processes by which a variety of poetic genres had been “lyricized” into a single, dominant genre, at the same time that it incites new histories of poetic subgenres, genealogies of American poetry, and compelling defenses of lyric as a collective voice (Costello 2012) or the “performance of an event” (Culler 2009, 887). Meanwhile, Stephen Burt’s many accessible reviews of contemporary poets bypass altogether the retrenched arguments for conceptual and lyric forms. The cultivation of a catholic taste for multiple, often discrepant styles in poetry, rather than buttressing a single framework of value, makes Burt a welcome voice in the wake of Language and post-Language scuffles over the politics of poetic form and political identity. Most recently, the poetics of precarious life under neoliberal conditions has been the object of attention by a scattered group of leftist poets and thinkers, including Anne Boyer (2014), Stefano Harney and Fred Moten (2013), Jasper Bernes (2013), Christopher Nealon (2011), Joshua Clover and Keston Sutherland (2013), Franco Berardi (2012), Judith Butler (2013), Chris Chen (2013), and Rob Halpern (2013). If we place this work alongside emergent, innovative work on post-war Anglophone, Russian, and Nigerian poetry by critics as diverse as Jennifer Ashton (2013), Marijeta Bozovic (2014), and Nathan Suhr-Sytsma (2013), it becomes immediately apparent that the entire field of poetry and poetics has taken on a new urgency and a pluralism of method. There is no reason why more work on poetry cannot wager the ambition, strength of argument, accessibility, and cross-disciplinary reach of groundbreaking books on globalization and culture such...