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The first scholarly study of the rich body of poetry that emerged from the post-war American suburbs, Gill evaluates the work of forty poets, including Anne Sexton, Langston Hughes, and John Updike. Combining textual analysis and archival research, this book offers a new perspective on the field of twentieth-century American literature.
"Poetry of the American Suburbs" examines how several contemporary poets have utilized a characteristic persona, the suburbanite poet, to voice poems about living and writing in postwar suburbia. Because this milieu resists treatment by conventional poetic methods, suburban poems are often anti-poems, or poems which acknowledge their own aesthetic failures. This thesis interrogates the ethical implications of the suburbanite poet's victimizations by the impossibility of writing conventionally in the suburbs. It argues that such rhetorical victimizations diminish the socially oppressive foundations of suburbia while at the same time allowing for aesthetic ingenuity in negotiating with new subject matter. Having discussed the suburban poems of Louis Simpson, James Dickey, Donald Justice, and Charles Wright, in addition to certain predecessors and poets who have expressed anti-suburban sentiments, this thesis concludes that suburban poems seek to articulate the experience of middleclass discontentment and can be read both as participating in suburban insularity and exclusivity and resisting problematic suburban culture.
The first scholarly study of the rich body of poetry that emerged from the post-war American suburbs, Gill evaluates the work of forty poets, including Anne Sexton, Langston Hughes, and John Updike. Combining textual analysis and archival research, this book offers a new perspective on the field of twentieth-century American literature.
In this collection we see the world through the eyes of a normal teenager that believes his/her life is anything but normal. When they reflect on their life as a white teenager living in the suburbs they begins to see things in their world that they didn't know to be true. In False Truths we see this teen walk outside of their home and see their world for exactly what it is, a place where people secretly take out their personal trash because we have to hold up a certain level of false realities in order to be a part of this group. They share that it is all a lie that they are keeping up appearances on when the reality is that they are just as much of a mess as any other family or teenager anywhere else. Reflecting on doing drugs and getting away with it, hiding the trips to rehab because mom and dad can afford to do so. This is the life of the suburban teen, and it's their lie. In Dominoes a teen reflects on the day that their best friend dies of an overdose at a party and no one talks about it. No one gets in trouble for it and no one is honest about what the problem is. Reflecting on the life and death of their friend. Talking about the days after when he is buried and the following day there is another party where another group of friends will be there celebrating the life of their dead friend. This is their reality, this is the American suburban lie.
For decades the suburbs have been where art happens despite: despite the conformity, the emptiness, the sameness. Time and again, the story is one of gems formed under pressure and that resentment of the suburbs is the key ingredient for creative transcendence. But what if, contrary to that, the suburb has actually been an incubator for distinctly American art, as positively and as surely as in any other cultural hothouse? Mixing personal experience, cultural reportage, and history while rejecting clichés and pieties and these essays stretch across the country in an effort to show that this uniquely American milieu deserves another look.
In this debut collection, Chanda Feldman's stunning poems unveil her childhood as well as that of her parents. Memories of desegregation, the days after the assassination of Dr. King, and what life was like for sharecroppers-- including the weddings, family feasts, and hardscrabble conditions that composed their lives-- unfold in this beautiful collection. Both timely and timeless, Feldmen presents a thoughtful and resonating first book.
Winner of Prize Americana, Grant Hier's Untended Garden is a quest narrative set in the suburbs, a long poem in the spirit of "Song of Myself" that weaves personal history, natural history, and American history. A passionate exploration of identity by examining the often forgotten lives and landscapes that existed here before us, Untended Garden becomes a celebration of diversity and remembrance, an argument for inclusion, a re-affirmation of our connectedness.
While suburbs provide a rich field of research for sociologists, architects, urbanists and anthropologists, they have not been given much attention in literary and cultural studies. The Suburbs: New Literary Perspectives sets out to enrich the limited existing body of critical analysis on the subject with a landmark collection of essays offering a far larger perspective than the books or collections published so far on the topic. This interdisciplinary and wide-ranging approach includes literary and art studies, philosophy, and cultural comment. It examines the suburbs across cultural differences, contrasting British, South African and North American suburbs. The specificity of this book therefore lies in a cross-national and cross-continental exploration of these unchartered territories. The suburbs are redefined as those rebellious margins whose geographical borders are necessarily fuzzy and sketch out a common place where cultural frontiers can be transcended. They are, to use Sarah Nuttall’s terminology, places of “entanglement” where contraries meet and where new ways of being in the world is reborn. Seen through the prism of art and literature, the suburbs may then be recognized, as philosopher Bruce Bégout argues, as a “new way of thinking and making urban space.”
Neo-confessional poems about moving back to the suburbs, raising a family, sustaining a marriage, and facing the humility that comes with not being young anymore.