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Introduction Divisions A Mangalorean Catholic, I pray in Konkani, count in Kannada, swear in Tulu, sing in Hindi, write in English, and dream in American. —Ralph Nazareth South Asian American poets have roots in a multiplicity of languages, cultures , and faiths. As a result, there will always be inherent contradictions in grouping together writers of such differing backgrounds. However, the experience of living and writing in the United States ensures that these poets share at least one thing in common: they are all active participants in the world of American literature. In compiling this anthology, we aim to encourage both an examination of what it means to be an American poet writing today and an enriched understanding of the South Asian American experience. In light of this two-pronged mission, we hope that this anthology might play a role in enlivening the ongoing debates regarding both literary and ethnic divisions within the United States and the nature of our indivisibility, both as a nation and as a community of writers. While the history of literature is riddled with divisions, one key example of literary disunity is the split that occurred in the United States in the 1990s between writers claiming to represent quite distinct schools of poetry. Schisms appeared between New Formalism and Spoken Word, between introspective lyric forms, narrative identity-based poetry, and the theoretical constructs of Language Poetry.1 Consequently, by the end of the twentieth century, American poetry seemed both overly academic and deeply divided, leading to a reduction in a general readership at home, while diminishing its standing abroad. In the last few years, however, the boundaries between these different aesthetic schools are increasingly becoming blurred. There is an exciting sense of the possibilities of cross-fertilization as a growing number of poets adapt and assimilate each other’s techniques, themes, and forms. Nevertheless, it should be noted that this process of exchange and resynthesis is already well established among American poets with South Asian roots, many of whom have xix extensive experience of borrowing and transforming ideas from a multitude of different traditions. Such writers are often equally at ease with narrative form as with fragmentation, with discontinuity as with dactyls. Thus, Tanuja Mehrotra’s “threaded ghazals” (a form Mehrotra created) merge the lyrical iterations of the traditional ghazal with the disjunctions of postmodern writing. Even when we consider the oeuvres of individual poets, we see a pluralism of form and content. For example, Faisal Mohyuddin’s work includes both the long-form narrative poem, embracing history and politics, and short bittersweet satires charting modern-day love. In his critical analysis of contemporary American poetry, Richard Silberg notes that the best U.S. poets today form “a distinctive sphere with many different parallel poetries, relatively equal, blurring and fusing across their boundaries .”2 We would like to suggest that the range of poetry being written by South Asian Americans today, with all its distinct and symbiotic forms, characterizes much of what is most valuable in current U.S. writing. We would argue that, rather than being relegated to a literary backwater, South Asian American poets are an essential—and indivisible—part of the landscape of American poetry. As readers will discover, not only do individual poets play with a variety of different poetic structures, but our contributors, as a group, cover a wide range of styles and subject matter. In the course of editing this book, we encountered a popular misconception that American poets of South Asian descent were either engaged in writing about the sensuous pleasures of sequined saris or immersed in obscure spiritual tracts. The reality is refreshingly different. In fact, in many instances, the content of the poem remains unmarked by the poet’s ethnic identity, as in Vijay Seshadri’s “Elegy.” The poets gathered here work with performance poetry and prose poems, not to mention sestinas and villanelles. They take us to symphony halls and jazz clubs, to supermarket aisles and basketball courts. They give voice to Renaissance women and Hurricane Katrina victims, Cuban refugees and German scientists. Even in those cases where the poets step into the ring to tackle spirituality or physical love, they adopt a surprising perspective, as we see in Subhashini Kaligotla’s “Lepidoptera.” In this regard, it is interesting to note the difference between the range of poetry and the range of fiction in South Asian American literature. While the poems anthologized here reflect the pluralism of poetic form, voice, and xx INTRODUCTION [18.222...

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