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In Visible Movement: Nuyorican Poetry from the Sixties to Slam (Contemporary North American Poetry) Paperback – May 1, 2014


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Product Details

  • Series: Contemporary North American Poetry
  • Paperback: 230 pages
  • Publisher: University Of Iowa Press; 1 edition (May 1, 2014)
  • Language: English
  • ISBN-10: 1609382447
  • ISBN-13: 978-1609382445
  • Product Dimensions: 6 x 0.9 x 9 inches
  • Shipping Weight: 15.5 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #255,282 in Books (See Top 100 in Books)

Editorial Reviews

Review

“An exceptional and much needed contribution to literary scholarship, this book will be of interest to anyone interested in the shape of contemporary U.S. literature. It brings together—with clarity, insight, and sophistication—a wide variety of poetic voices in order to weave a compelling analysis of major developments in Nuyorican poetry.”—Rafael Pérez-Torres, author, Movements in Chicano Poetry: Against Myths, against Margins


“A crucial contribution to our literary history, In Visible Movement charts the evolution of an increasingly visible movement in the literary arts, shedding light on many related poetries of the past six decades in the process. Noel proposes ‘an understanding of poetry performance as revisionism: operating across and along page and stage,’ an understanding that proceeds from the poets themselves.”—Aldon Lynn Nielsen, author, Integral Music: Languages of African American Innovation

About the Author

Urayoán Noel is an assistant professor of English at the University at Albany, SUNY, and a visiting assistant professor of English at NYU. He is the author of various books of poetry, including, most recently, Los días porosos (The Porous Days), and he has received fellowships from the Ford Foundation and CantoMundo, among others. Also a performer and translator, he has published or has essays forthcoming in Contemporary Literature, Latino Studies, and Small Axe. Noel is originally from San Juan, Puerto Rico, and lives in the Bronx, NY.

More About the Author

Urayoán Noel is the author of various books of poetry, including Kool Logic/La lógica kool (2005), Boringkén (2008), and Hi-Density Politics (2010), and of the critical study In Visible Movement: Nuyorican Poetry from the Sixties to Slam (2014), as well as a translator and performer. He has been a fellow of CantoMundo and the Ford Foundation, and his work has appeared in a variety of national and international publications. Originally from San Juan, Puerto Rico, Noel lives in the Bronx, NY, where he occasionally performs and records with the band Los Guapos Planetas. He is currently an Assistant Professor of English and Spanish and Portuguese at NYU. Visit him at urayoannoel.com and at urayoannoel on Facebook and Twitter.





Customer Reviews

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Most Helpful Customer Reviews

Format: Paperback
I confess that despite moving to NYC in 1996 and spending my entire adult life here (including four years at NYU) I knew nothing of the Nuyorican poetry movement. It wasn’t until I saw the biopic Pinero that I heard about it. Then again, few of my Puerto Rican friends and none of my Puerto Rican students had heard of it either, so I wonder.
Urayoan Noel says in the introduction that the Nuyorican phenomena is the result of the Purto Rican diaspora, being stuck in a strange place. The East Village barrio was close to Greenwich Village and NYU, where you had all the artsy types, more so than Harlem or the Bronx. He cites Piri Thomas’ Down These Mean Streets as a start; Thomas goes from trying to escape his community to realizing that it has its merits. On a funny note, Down These Mean Streets was banned in every community where the teenage Piri Thomas had gone to escape racism.
The first chapter made me realize that the Nuyorican movement had none of the sponsorship that the Harlem Renaissance had. There was no Puerto Rican counterpart to the C.J. Walker company bankrolling Puerto Rican intellectuals, as Madam Walker did in the 1900’s. The Fords, Guggenheims, Astors, and Rockefellers weren’t sponsoring Puerto Rican artists or writers the way America’s millionaires had done with others. In the book Love Goes To Buildings On Fire, the author describes how Bruce Springsteen, a New Jersey native, had a big following among Andy Warhol’s transvestite crowd. His stubbly face, torn jeans, and rough guitar playing was surprisingly appealing to drag queens. But Miguel Pinero and other Puerto Rican poets and musicians; they were ignored by the established crowd. Perhaps the “arts” scene was little more than a clique, just with grown-ups rather than high school alpha-queens?
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By A. Ali on November 10, 2014
Format: Paperback Verified Purchase
This is the best book written on the subject that I have read so far. The author has done his homework and gives an objective account of the history of these poets and writers. It is strange to me, however, that these writers are placed within a literary movement, by the author and others in academia. At the time things were kind of anarchic and the process by which a lot of poetry was written could be rather unorthodox. Poems were improvised, written on napkins by candlelight. There was an energy, but not an organized movement. That is just my recollection. I guess history is separate from memory.
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1 of 5 people found the following review helpful By Our Only Island on June 17, 2014
Format: Paperback
I will not buy this book since the author has abused Lesbian scholars like my self and has abused his power in telling one of the only women in the book who was ignored for years that she had to answer hundreds of questions for him at no pay. The woman poet told him that what she could do was travel to PA to meet him there at a equidistant point and he refused to do it. Sandra Mari a Esteves, when she found this disdain or lack caring on us Lesbians and Bis, she told me " Why didn't Urayoan seek a grant to pay this woman in Ohio for the interviews and even bring her to NY." Noel had the nerve of contacting me to find Lorraine Sutton and he did find it through me. She was in hidding. He turned around and in a rude way told me that I could not be in touch with her because he was her "handler." He was a handler? When I put him in touch with leads on where to find a peer that fled from NYC? Keep up writing to see if you can control your anger against Lesbian Ricans who defy you and you leave out of everything including this book when I was one of these groups principal poetry slamers and pioneras.
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