诗歌世界似乎不太可能成为“种族排”，“卫报”这句话在2011年应用于文学判决的直接交换。着名（和白人）评论家海伦·伯勒贬低了着名（和黑人）诗人丽塔·多夫（Rita Dove）对二十世纪美国诗歌新企鹅选集的选择。 Vendler写道，Dove赞成“多元文化包容性”而不是质量。她试图通过选择太多的少数派诗人来“改变平衡”，而牺牲了更好（和更知名）的作家。这些诗歌“大多是短暂的”和“相当有限的词汇”，是20世纪佳能的主持人。在“波士顿评论报”上，美国前卫诗学家（也是白人）评论家马乔里·佩罗夫（Marjorie Perloff）也参与其中。她感到遗憾的是，她看到新诗人依赖于20世纪60年代和70年代已经陈旧的公式化的抒情诗 – 一个装饰着“诗意”的个人记忆，建立了“深刻的思想或小小的顿悟。”她的例子：a由着名（也是黑人）诗人娜塔莎·特雷斯威（Natasha Trethewey）写的关于她母亲痛苦的头发拉直常规的诗。现在订阅支持160年的独立新闻。起价仅为24.50美元。从该问题查看更多故事。发表封面图片 要了解更多专题报道，请参阅我们的完整列表或获取Audm iPhone应用程序。 Dove对于她在已经建立的白人评论家的反应中所看到的模式采取了强烈的例外。她要求，他们是否会对抗成群结队的不同肤色和不同眼界的诗人？我们是非裔美国人，美洲原住民，拉美裔美国人，亚裔美国人 – 只要这些批评者可以站在门口检查我们的证书并让我们一个接一个地接受，我们才能接受吗？已经很长一段时间了，但门已被吹掉它的铰链。浏览主要文学期刊的目录，包括诗歌杂志等白鞋诗企业，甚至是“纽约时报”和“纽约时报杂志”等具有广泛影响力的一般利益周刊。扫描收件人每年授予该国最有前途的年轻诗人的着名，有时是有利可图的奖学金，奖励和讲座。他们是来自中国，萨尔瓦多，海地，伊朗，牙买加，韩国，越南的移民和难民。他们是黑人和Oglala Sioux女人。他们既酷又直，并谨慎选择他们的人称代词。今天美国诗歌的面貌与十年前的情况大不相同，更像是千禧年美国的人口统计数据。如果有的话，目前的新兴诗人预计将在30年后面对年轻的美国人。
英国利兹大学文学论文代写:诗歌再次重要
The poetry world would hardly seem a likely place for a “race row,” the phrase The Guardian applied in 2011 to a blunt exchange of literary verdicts. The celebrated (and white) critic Helen Vendler had disparaged the celebrated (and black) poet Rita Dove’s selections for the new Penguin Anthology of Twentieth-Century American Poetry. Dove, Vendler wrote, had favored “multicultural inclusiveness” over quality. She’d tried to “shift the balance” by choosing too many minority poets at the expense of better (and better-known) writers. The poems were “mostly short” and “of rather restricted vocabulary,” the presiding keeper of the 20th-century canon judged. Over at the Boston Review, the (also white) critic Marjorie Perloff, the doyenne of American avant-garde poetics, weighed in too. She lamented what she saw as new poets’ reliance on a formulaic kind of lyric already stale by the 1960s and ’70s—a personal memory dressed up with “poeticity,” building to “a profound thought or small epiphany.” Her example: a poem by the acclaimed (also black) poet Natasha Trethewey about her mother’s painful hair-straightening routine.Subscribe now to support 160 years of independent journalism. Starting at only $24.50. View more stories from the issue.Issue cover image
To hear more feature stories, see our full list or get the Audm iPhone app. Dove took strong exception to a pattern she saw in the response of established white critics. Were they, she demanded, making a last stand against the hordes of up-and-coming poets of different skin complexions and different eye slants? Were we—African Americans, Native Americans, Latino Americans, Asian Americans—only acceptable as long as these critics could stand guard by the door to examine our credentials and let us in one by one? It’s been a long time coming, but the door has since been blown off its hinges. Skim the table of contents of the major literary journals, including white-shoe poetry enterprises like Poetry magazine, and even general-interest weeklies with vast reach such as The New Yorker and The New York Times Magazine. Scan the recipients of the prestigious and sometimes lucrative fellowships, awards, and lectureships granted annually to the most promising young poets in the country. They are immigrants and refugees from China, El Salvador, Haiti, Iran, Jamaica, Korea, Vietnam. They are black men and an Oglala Sioux woman. They are queer as well as straight and choose their personal pronouns with care. The face of poetry in the United States looks very different today than it did even a decade ago, and far more like the demographics of Millennial America. If anything, the current crop of emerging poets anticipates the face of young America 30 years from now.