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Notes INTRODUCTION 1. Joseph Epstein, “Who Killed Poetry?” Commentary 86, no. 2 (August 1988): 14–15. 2. Dana Gioia, “Can Poetry Matter?” in Can Poetry Matter? Essays on Poetry and American Culture (Saint Paul: Graywolf, 1992), 10, 19, 12. 3. Donald Hall, “Death to the Death of Poetry,” Academy of American Poets Web site, http://www.poets.org/viewmedia.php/prmMID/16222. This piece was originally published in Harper’s in 1989. 4. Richard Tillinghast, “American Poetry: Home Thoughts from Abroad,” Writer’s Chronicle 25, no. 5 (March–April 1993): 24. 5. Marc Smith, interview conducted at the 2002 National Poetry Slam, Minneapolis, by Susan B. A. Somers-Willett, August 16, 2002. 6. Marc Smith, “About Slam Poetry,” in Spoken Word Revolution: Slam, Hip-Hop, and the Poetry of a New Generation, ed. Mark Eleveld (Naperville, IL: Sourcebooks MediaFusion, 2003), 117–18. 7. Jean Howard, “Performance Art, Performance Poetry: The Two Sisters ,” in Spoken Word Revolution: Slam, Hip-Hop, and the Poetry of a New Generation, ed. Mark Eleveld (Naperville, IL: Sourcebooks MediaFusion, 2003), 65–66. 8. Smith, interview. 9. Howard, “Performance Art,” 65. 10. Both the Individual World Poetry Slam (iWPS) and the Women of the World Poetry Slam (WOWps) are relatively new competitions initiated in 2004 and 2008, respectively. Because both competitions are relatively new, my research represents the tournament records of the National Poetry Slam alone through 2007, which include both individual and team standings. It should be noted that, although they have slightly different tournament structures and rules, all three national competitions have many poems, poets, and organizers in common. 11. Marc Smith and Joe Kraynak, The Complete Idiot’s Guide to Slam Poetry (New York: Alpha Books, 2004). 12. Marc Smith, “Slam Info: Philosophies,” http://www.slampapi.com/ new_site/background/philosophies.htm (accessed February 25, 2003). 13. Bob Holman, “The Room,” in Poetry Slam: The Competitive Art of Performance Poetry, ed. Gary Mex Glazner (San Francisco: Manic D Press, 2000), 17. 14. Dana Gioia, Disappearing Ink: Poetry at the End of Print Culture (Saint Paul: Graywolf, 2004), 6–7. 153 15. Henry Louis Gates Jr., “Sudden Def,” New Yorker, June 1995, 37. 16. Tyler Hoffman, “Treacherous Laughter: The Poetry Slam, Slam Poetry, and the Politics of Resistance,” Studies in American Humor 3, no. 8 (2001): 49. 17. Slamnation, dir. Paul Devlin (1998; Slammin’ Entertainment, 2004), DVD. 18. Roger Bonair-Agard, “In Memoriam: Sekou Sundiata,” in The National Poetry Slam 2007 Poet Guide (Austin: National Poetry Slam Committee, 2007), 4. 19. Jeffrey McDaniel, “Slam and the Academy,” in Poetry Slam: The Competitive Art of Performance Poetry, ed. Gary Mex Glazner (San Francisco: Manic D Press, 2000), 36. 20. “Poetry in Motion: Slam Dunking with Words,” Wall Street Journal, September 10, 1998. 21. Genevieve Van Cleve, “Re: Slam,” e-mail communication, October 30, 2001. 22. Maria Damon, “Was That ‘Different,’ ‘Dissident,’ or ‘Dissonant’? Poetry (n) the Public Spear—Slams, Open Readings, and Dissident Traditions,” in Close Listening: Poetry and the Performed Word, ed. Charles Bernstein (New York: Oxford University Press, 1998), 329–30. 23. The New York City poetry slam community has earned particular attention for its local ›avor. For a discussion of its history, see Cristin O’Keefe Aptowicz, Words in Your Face: A Guided Tour through Twenty Years of the New York City Poetry Slam (New York: Soft Skull, 2008). CHAPTER ONE 1. Dana Gioia, Disappearing Ink: Poetry at the End of Print Culture (Saint Paul: Graywolf , 2004), 7–10. 2. Charles Bernstein, ed., Close Listening: Poetry and the Performed Word (New York: Oxford University Press, 1998); Walter J. Ong, Orality and Literature: The Technologizing of the Word (New York: Methuen, 1982); Paul Zumthor, Oral Poetry: An Introduction (Minneapolis: University of Minnesota Press, 1990); Gregory Nagy, Poetry as Performance: Homer and Beyond (New York: Cambridge University Press, 1996). 3. Henry Taylor, “Read by the Author: Some Notes on Poetry in Performance ,” Another Chicago Magazine 32–33 (spring–summer 1997): 26. 4. This is not to say that rap lyrics are not to be considered formal verse; indeed, such lyrics are the most regularly metrical and rhymed type of poetry practiced in American culture today alongside children’s verse. Nor is it to say that slam poets are uninformed about traditional poetic form and meter. I refer here speci‹cally to the tradition cited by many slam poets in their use of formal devices. Especially recently, there has been a preponderance of rhymed, metered verse using the hip-hop idiom performed at the National Poetry Slam...