Search results for "Jenny Hickman"
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Crisis and the US Avant-Garde
Crisis and the US Avant-Garde charts the energies and tensions of avant-garde poetics and vanguard politics.Crisis and the US Avant-Garde examines the politics of poetry through the lens of crisis. A timely commentary on the role poetic culture might play in political struggle going forward into our own various contemporary crises, the book connects major twentieth-century poets and movements, including Allen Ginsberg, Amiri Baraka and Language Poetry, with their various moments of political upheaval. Reading poems as attempted interventions in ‘turning-points’ or ‘moments of decision’ within American culture, Crisis and the US Avant-Garde looks at how poetry seeks to go beyond poetic language, and investigates how experimental American poetry has attempted to responds to imperialism, war, class conflict and capitalism itself.Key features:Reassesses the US avant-garde’s relation to political eventsExplains how we might talk about a ‘context’ for avant-garde artProvides detailed readings of major poets, including Louis Zukofsky, Charles Olson, Denise Levertov, George Oppen, Amiri Baraka and othersKey reference point for experimental cultural politics todayBen Hickman is the author of John Ashbery and English Poetry (Edinburgh, 2012) and has published numerous essays on the New York School, the New American Poetry, John Clare and others. He studied at University College, London and currently teaches at the University of Kent.
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What the Silence Said
Poetry by David Hickman, with a foreword by Fred Chappell. Revised Second Edition.
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Vendiendo Guantánamo
Examinando ejemplos históricos de prisioneros mantenidos en prisión indefinida durante los conflictos asimétricos y las crisis de seguridad nacional, Hickman desenreda lo presunto de lo aprobado y revela exactamente por qué el encarcelamiento corriente en la base naval infame es tan único y sin precedentes. Ofrece una teoría alternativa que completamente contradice la narrativa inventada por el Gobierno de Bush construyendo su argumento de la historia doméstica e internacional existente: los prisioneros fueron exhibidos como símbolos de victoria militar, castigados como sustitutos por los arquitectos del 11 de septiembre que quedaban libres, y usados como peones en un paso neoconservador para señalar una nueva política exterior estadounidense que no hacía caso de las Naciones Unidas, que no respetaba las Convenciones de Ginebra, y que se burlaba de la Corte Criminal Internacional.
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