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This is a submission of poetry written while in recovery from military related trauma

Poetry

Poetry

Poetry

Abstract interview Deborah A. Miranda (Ohlone/Costanoan Esselen nation) is an important voice in contemporary Native literature, and her memoirBad Indians: A Tribal Memoir (2013) won multiple awards. This conversation was held in June 2015 in Mainz, Germany, in the context of a symposium during which she gave a reading at a local bookstore. Covering a range of topics on her composition and thematic foci of her memoir and most recent poetry collection, Raised by Humans (2015), the conversation also includes a discussion of two poems in this collection that are reprinted following the interview, in addition to three recent poems of hers.

Through an autoethnographic poetry manifesto, the author makes the case for poetry as political, poetry as feminist practice, poetry as social research and autoethnography, poetry as the personal that becomes the universal, and poetry as visionary activism. The use of personal poetry engages the political power of poetry to present embodied, nuanced, and myriad scenes of marginalized and stigmatized identities.

This chapter proposes a brief history of kinetic poetry as a transmedia and cross-artistic form. It connects the most relevant threads of a possible historiographic narrative of how kinetic poetry has been evolving since the beginning of the twentieth century at the intersection of literature, visual arts, cinema, animation, and technology, across various media. It argues for a transmedia approach because it does not place kinetic poetry at the heart of computational media and as a digital literature-specific genre, but rather as a temporal form that is media and language-specific, but also culturally and politically situated. Kinetic poetry is a form of poetry that relies on spatiotemporal transitions with expressive literary, visual and aural layers. Throughout the twentieth century, authors composed kinetic poems with varied media, such as motorized sculptures, celluloid film, video, holography, and computers. As it is unveiled, the origins of kinetic art and kinetic poetry can be traced back to the Constructivists' Realisticheskii Manifest and the Dadaists' praxis. When Marcel Duchamp staged puns via rotoreliefs in the 35 mm film Anémic Cinéma (1926), he opened up the way for hybrid works that can be experienced through the lenses of cinema, textual art in motion, and kinetic poetry. Later on, language went from projection to interaction, first with the investigations by the experimental poets in the 1950s-80s and then with the explorations by the digital poets from the 1980s onwards. Therefore, the discussion of kinetic poetry's cultural and technological history goes back to early abstract films, mechanical poetry, film poetry, videopoetry, holopoetry, to finally present algorithmically programmed animation. Because this narrative is heavily Euro- and American-centric, this chapter invites readers to contest the following historiographic version of kinetic poetry's trajectory, and to share knowledge about works created in other latitudes, especially by women and non-white authors.

Nos últimos cinquenta anos, a poesia portuguesa desenvolveu diferentes formas de resistência, reagindo não apenas a circunstâncias políticas, sociais e culturais muito diversificadas, mas também a um processo gradual de desvalorização do seu lugar e do seu papel no mundo contemporâneo. Este estudo pretende determinar e descrever diferentes modelos de resistência na (e da) poesia, tendo por referência algumas das poéticas que mais marcaram o panorama da poesia portuguesa, dos anos 60 até aos nossos dias. Obras de autores tão diferentes entre si como o são as de Carlos de Oliveira, Luiza Neto Jorge, Herberto Helder, António Franco Alexandre, João Miguel Fernandes Jorge, Adília Lopes, Ana Luísa Amaral, Manuel de Freitas ou José Miguel Silva têm em comum a atribuição à poesia de uma função de resistência. O que une estes autores? E o que os separa? A resposta a estas questões deverá permitir apurar uma noção de resistência na poesia e também a sua articulação com a noção de resistência da poesia.PALAVRAS-CHAVE: poesia, resistência, modernidade, contemporaneidade ; In the last fifty years Portuguese poetry developed different forms of resistance, reacting not only to political, social and cultural circumstances, but also to a gradual process of devaluation of its place and role in the contemporary world. This study aims at determining and describing different models of resistance in (and of) poetry, by considering some of the poetics that marked Portuguese poetry from the 1960's to our days. Authors as different as Carlos de Oliveira, Luiza Neto Jorge, Herberto Helder, António Franco Alexandre, João Miguel Fernandes Jorge, Adília Lopes, Ana Luísa Amaral, Manuel de Freitas or José Miguel Silva bear in common the fact that they invest poetry with a function of resistance. What brings these authors together? What separates them? The answer to these questions may provide an insight into the notion of resistance in poetry as well as its articulation with the notion of the resistance of poetry.KEYWORDS: poetry, resistance, modernity, contemporaneity