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523 COPYRIGHTS AND PERMISSIONS Grateful acknowledgment is made to the following for permission to reprint. Every effort has been made to trace the ownership of material included in this book and to obtain permission for its use where applicable. Elmaz Abinader: “In the Country of My Dreams” from In the Country of My Dreams; copyright 1999 by Elmaz Abinader. Reprinted with permission of Sufi Warrior Publishing Company. Sherman Alexie: “Defending Walt Whitman” from The Summer of Black Widows; copyright 1996 by Sherman Alexie. Reprinted with permission of Hanging Loose Press. Rae Armantrout: “Necromance,” “Attention,” “Reversible,” “A Resemblance,” “Scumble,” and “Sway” from Veil: New and Selected Poems, Next Life, Versed, and Money Shot; copyright 2001, 2007, 2009, and 2011 by Rae Armantrout. All reprinted with permission of Wesleyan University Press. “Sit-Calm” copyright 1995 by Rae Armantrout. Reprinted with permission of Rae Armantrout. John Ashbery: “The Instruction Manual” and “The Picture of Little J. A. in a Prospect of Flowers” from Some Trees; copyright 1956 by John Ashbery. “Daffy Duck in Hollywood” from Houseboat Days; copyright 1975, 1976, 1977, 1999 by John Ashbery. “The Big Cloud” from April Galleons; copyright 1984, 1987 by John Ashbery. “The Twilight Park” from Can You Hear, Bird; copyright 1995 by John Ashbery. “The Twilight Park” originally appeared in the American Poetry Review (24:1). All the above reprinted with permission of Georges Borchardt, Inc., on behalf of the author. “Anticipated Stranger,” from A Worldly Country; copyright 2007 by John Ashbery. Reprinted with permission of HarperCollins Publishers. “The Tennis Court Oath” from The Tennis Court Oath; copyright 1957, 1962 by John Ashbery . Reprinted with permission of Wesleyan University Press. Joseph Awad: “Stopping at the Mayflower” from Beltway Poetry Review, Volume 7, Summer 2006; copyright 2006 by Joseph Awad. Reprinted with permission of Doris Awad. Amiri Baraka: “Political Poem,” “A Poem for Speculative Hipsters,” “leroy,” “Return of the Native ,” and “A New Reality is Better Than a New Movie!” from The Selected Poetry of Amiri Baraka/LeRoi Jones; copyright 1964, 1969, and 1975 by Amiri Baraka. All reprinted with permission of Sterling Lord Literistic, Inc. Charles Bernstein: “Precisely and Moreover” and “Of Time and the Line” from Rough Trades; copyright 1991 by Charles Bernstein. “Ballet Russe,” “Autonomy Is Jeopardy,” “Under the Pink Tent,” and “Social Pork” from Republics of Reality; copyright 2000 by Charles Bernstein . “every lake . . .” and “All the Whiskey in Heaven” from All the Whiskey in Heaven: Selected Poems; copyright 2010 by Charles Bernstein. All the above reprinted with permission of the author, Charles Bernstein. John Berryman: “The Ball Poem” from Collected Poems, 1937–1971; copyright 1989 by Kate Donahue Berryman. “Dream Songs 1, 4, 13, 26, 29, 76, 77, 90, 101, and 385” from The Dream Songs; copyright 1969 by John Berryman; renewed in 1997 by Kate Donahue Berryman . All reprinted with permission of Farrar, Straus, and Giroux, LLC. Ø Copyrights and Permissions 524 Frank Bidart: “Self-Portrait, 1969,” “To My Father,” “In The Western Night,” “The Sacrifice,” and “In the Ruins,” from In the Western Night: Collected Poems, 1965–1990; copyright 1990 by Frank Bidart. “Lament for the Makers” and “Curse” from Star Dust; copyright 2005 by Frank Bidart. “You Cannot Rest” and “With Each Fresh Death the Soul Rediscovers Woe” from Watching the Spring Festival; copyright 2008 by Frank Bidart. All reprinted with permission of Farrar, Straus, and Giroux, LLC. Elizabeth Bishop: “The Man-Moth,” “The Fish,” “At the Fishhouses,” “Insomnia,” “Questions of Travel,” “The Armadillo,” “First Death in Nova Scotia,” “In the Waiting Room,” “Poem,” “One Art,” “Pink Dog,” and “Sonnet” from The Complete Poems, 1927–1979; copyright 1979, 1983 by Alice Helen Methfessel. All reprinted with permission of Farrar, Straus, and Giroux, LLC. Gwendolyn Brooks: “a Song of the front yard,” “Sadie and Maud,” “Boy Breaking Glass,” and “The Life of Lincoln West” from Blacks; copyright 1987 by Gwendolyn Brooks. “The Boy Died in My Alley” from To Disembark; copyright 1982 by Gwendolyn Brooks. All reprinted with consent of Brooks Publishing. Carlos Bulosan: “History of a Moment.” Not under copyright; reprinted under free domain. Lorna Dee Cervantes: “Freeway 280” and “Meeting Mescalito at Oak Hill Cemetery” from Emplumada; copyright 1981 by Lorna Dee Cervantes. Reprinted with permission of Latin American Literary Review (5:10). “The Body as Braille” from Emplumada; copyright 1982 by Lorna Dee Cervantes. Reprinted with permission of University of Pittsburgh Press. “Drawings : For John Who Said to Write About True Love” and “Pleiades from the Cables of Genocide” from From the Cables of Genocide; copyright 1991...

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