A feeling of Regard, says Laura McCullough, “is an attempt to gather the voices of residing poets and students in considerate and regarded exfoliation of the present confluence of poetry and race, the problems, the nuances, the unexamined, the dreaded, the questions, and the quarrels throughout aesthetic camps and biases.”
The members speak about matters as a variety of as their very own varied racial and ethnic backgrounds. Their essays, which variety widespread from the private and lyrical to the serious, are equipped into 4 vast groupings: Americanism, the event of unsilencing and crossing borders, interrogating whiteness, and language itself. To learn them is to hear in because the individuals converse what they be aware of, notice what they don't, and within the procedure usually locate whatever new in themselves and their subject. As a reader you're invited, says McCullough, “to be moved from one experience of regard to a different: to be provoked and to linger in that kingdom. . . . to question, quarrel, and consider.”
A feel of Regard grew out of a up to date amassing of the organization of Writers and Writing courses (AWP), the place a poet’s reviews at the paintings of one other sparked impassioned and contentious conversations in individual, in print, and on-line. although race is frequently considered an age-old subject in poetry, McCullough observed in actual fact that there's nonetheless a lot to debate, research, and tease aside. relocating the dialog past the specificity of these preliminary AWP encounters, with their in general black/white specialise in race, those essays supply a context and a secure foundation for a few urgently wanted discussions we too hardly have.
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Extra resources for A Sense of Regard: Essays on Poetry and Race
It came on much quicker than I’d thought or hoped it would. I allowed myself, and was allowed by my professors, among them Jon Davis, Evelina Lucero, and Arthur Sze, all longtime architects and faculty within the program, to explore and change and grow as needed, challenged but never forced to face identity politics and specific issues of race, gender, and class within my own work and the work of others. Form, content, and context of experience matter greatly. They are a language unto themselves.
John Roberts fumbled the oath. Obama’s speech was wonderfully calibrated. Yo‑Yo Ma and Itzhak Perlman gave a riveting performance. Aretha Franklin sang “My Country ’Tis of Thee” and I loved her hat. Then the finale: Elizabeth Alexander and the inaugural poem. I may never have anticipated a poem so much. But the camera cut to the audience. These dedicated souls, who had braved freezing temperatures to see the president take the oath of office, were leaving. 44 ja s o n s c hn eider m a n They were getting up and leaving.
On a dirt floor while an interpreter showed us how to tan hides and weave rope mats. I was struck by the note of nobility and dignity in the stories I heard of the native way of life, pre European settlers. Only much later would I realize that this entire endeavor was pure simulacrum, a re‑creation of what an operational Indian village might have looked like based on archeological conjecture. Still that note of unity across tribes, technological innovation, and dignified forbearance, elements I had never learned about in my middle school classroom, remained with me.