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Full Description
Hungers on Sugar Hill examines the unstable world of the urban poet at the dawn of post-war America and how the social and political uncertainties of artistic life in a changing New York combined to create a new vision of the political poet that would change forever the American relationship to activist art. Ian Storey examines Arendt's political poetry and its intersection with political theory and aesthetic theory. Chapters include discussions of Arendt's political poetry as it relates to W.H. Auden, Langston Hughes, Randall Jarell, Heinrich Blucher Robert Gilbert, Richard Wilbur, e.e.cummings, Dylan Thomas, among others. As the view out the window of Hannah Arendt's West 95th apartment grew increasingly unrecognizable, inside an equally profound change was being wrought in the place of the artist in American politics by a group of poets who would become the icons of an age of upheaval. In W.H. Auden, Randall Jarrell, Robert Lowell, and others, American poetry found a distinctive political voice, one that would serve it well in the face of crises and repressions to come.The narrative interweaves a political-theoretic voice analyzing the group's politics as it developed, and a narrative voice of social history tying their personal relationships to their rapidly evolving city.
Contents
Ch. 1 - The Reckless Unsaidpoetry Ch. 2 - Survival in the East Village [Arendt and Auden, Schocken Books] Ch. 3 - Post-war Harlem and the Long Shadow of Hughes [Langston Hughes] Ch. 4 - Mischief and the Face of Sorrow [Randall Jarrell] Ch. 5 - A New Academy, Rued [Arendt and Heinrich Blucher, the Partisan Review] Ch. 6 - Surviving Wonder [Jarrell, Robert Gilbert, Richard Wilbur] Ch. 7 - XAIPE: Fracture, Fame, Failure [e.e.cummings] Ch. 8 - "The Garden is Political": Brinnin, Dylan Thomas, and the Rise of the 92nd Street Y Ch. 9 - Afterlifes [beat poetry, '60s protest poetics, art and the AIDS crisis]
