Putting Caldiero in Context: Contemporary North American Performance Poetries and Poetics
Rationale: The purpose of this list is to provide context for my analysis of Caldiero. It incorporates a range of performance poetries from contemporary poets living in the United States and Canada, including hip hop, jazz poetry, slam poetry, and sound poetry. The anthologies section includes works that provide a general overview of the field, while the single poets section looks more deeply at representative poems from a sampling of noteworthy performance poets. This list also provides secondary texts that are useful for understanding and interpreting the contexts and social functions of contemporary performance poetries and poetics.
(** means I've read/listened to the text)
I. Primary Works
Pow, Whit, ed. TextSound: An Online Audio Publication 8 (2010): n. pag. Web. 9 Dec. 2010. (12 poems)
Cotner, Jon, and Andy Fitch. Improvisations 2006–2010: Jon Cotner and Andy Fitch. Spec. issue of TextSound: An Online Audio Publication 9 (2010): n. pag. Web. 9 Dec. 2010. (15 poems)
**Barbour, Douglas, and Stephen Scobie, eds. Carnivocal: A Celebration of Sound Poetry. Markham, Ontario: Red Deer Press, 2002. CD. (22 poems)
Eleveld, Mark, ed. The Spoken Word Revolution: Redux. Naperville, IL: Sourcebooks, 2007. Print. (138 poems)
**Eleveld, Mark, ed. The Spoken Word Revolution: Slam, Hip Hop, & the Poetry of a New Generation. Naperville, IL: Sourcebooks, 2004. Print. (90 poems)
ii. Single Poets
**Baraka, Amiri. “‘Wooden Negroes Appear at a Slam’ and Several ‘Low Coup.’” PennSound. Center for Programs in Contemporary Writing at the University of Pennsylvania, 2008. MP3.
Somers-Willett, Susan B. A. The Cultural Politics of Slam Poetry: Race, Identity, and the Performance of Popular Verse in America. Ann Arbor: U of Michigan P, 2009. Print.
Vincent, Stephen, and Ellen Zweig. The Poetry Reading, a Contemporary Compendium on Language and Performance. San Francisco: Momo’s Press, 1981. Print.
Wheeler, Lesley. Voicing American Poetry: Sound and Performance from the 1920s to the Present. Ithacha, NY: Cornell UP, 2008.
Cabri, Louis. “On Discreteness: Event and Sound in Poetry.” English Studies in Canada 33.4 (2007): 1-19. Print.
Crown, Kathleen. “‘Sonic Revolutionaries’: Voice and Experiment in the Spoken Word Poetry of Tracie Morris.” We Who Love to Be Astonished: Experimental Women’s Writing and Performance Poetics. Ed. Laura Hinton and Cynthia Hogue. Tuscaloosa: U of Alabama P, 2002. Print. 213-26.
**DiDiodato, Conrad. “Penn Kemp and the Metamorphosed Ear.” Ascent Aspirations Magazine (2010): n. pag. Web. 9 Dec. 2010.
Fisher, Maisha T. “Open Mics and Open Minds: Spoken Word Poetry in African Diaspora Participatory Literacy Communities.” Harvard Educational Review 73.3 (2003): 363-89. Print.
Hoffman, Tyler. “Treacherous Laughter: The Poetry of Slam, Slam Poetry, and the Politics of Resistance.” Studies in American Humor 3.8 (2001): 49-64. Print.
**Holman, Bob. “Performance Poetry.” An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art. Ed. Annie Finch and Kathrine Varnes. Ann Arbor: U of Michigan P, 2005. Print. 341-51.
Jones, Meta DuEwa. “Jazz Prosodies: Orality and Textuality.” Callaloo 25.1 (2002): 66-91. Print.
Schmid, Julie. “Spreading the Word: A History of the Poetry Slam.” Talisman: A Journal of Contemporary Poetry and Poetics 23-26 (2001-2002): 636-45. Print.