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This chapter adopts techniques from historical poetics to understand the queerness of American poetry before 1850. It suggests a set of techniques and methods as descriptive of queer historical poetics. It places poetry in its historical context to determine how queerness has changed across early American history. By examining poetry from Puritan New England, eighteenth-century American satires, verse of the American Revolution, and poetic collaborations from the early Republic, this chapter shows how poetry was understood to be queer in colonial American and the early republic. It suggests a relationship between queerness and formalism that looks for the ways queer sociabilities and ordinary queerness appeared in traditions of American poetry, and how these forms might challenge our idea of queer poetry as always intent on being radical, deviant, or innovative. Queer historical poetics restores sexuality to discussions of the formalist and poetic traditions of American poetry before 1850 while borrowing from queer studies the demand for relevancy.
At the height of literary nationalisms in the twentieth century, leftist internationalists from Turkey, Iran, Afghanistan, India, and the Soviet East bonded over their shared love of the classical Persian verses of Hafiz and Khayyam. At writers' congresses and in communist literary journals, they affirmed their friendship and solidarity with lyric ghazals and ruba'iyat. Persianate poetry became the cultural commons for a distinctively Eastern internationalism, shaping national literatures in the Soviet Union, the Middle East, and South Asia. By the early Cold War, the literary entanglement between Persianate culture and communism had established models for cultural decolonization that would ultimately outlast the Soviet imperial project. In the archive of literature produced under communism in Persian, Tajik, Dari, Turkish, Uzbek, Azerbaijani, Armenian, and Russian, this book finds a vital alternative to Western globalized world literature.
This essay emphasizes the centrality of evangelical women poets to the culture and development of early American poetics (including hymnody), which had lasting effects well into the nineteenth century. It makes three related claims. First, early evangelical poetry was a capacious lived literature that constituted one of the major aesthetic developments of the eighteenth century. Second, one of the momentous outgrowths of this eighteenth-century experiential Christian poetics was an early form of the Poetess, a trope scholars predominantly discuss as a nineteenth-century cultural form. And third, recognizing this longer development of the evangelical poetess resituates Phillis Wheatley Peters’ poetics within an antiwhite supremacist tradition produced by free and enslaved Black people. The essay argues for the necessity of broader and deeper engagement with various eighteenth-century religious poetics in order to braid them back together with the social forms and histories within which they arose and remained entangled.
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