{"sf1_id":1173025,"sf2_id":"qmyRa6Rn","title":"Voice Heard","author":"charles_they","words":1642,"posted_at":"2017-04-18T03:18:32.000Z","tags":["Black","Blackness","Colonialism","Experimental","History","Metapoetry","Non-Anthro","Poem","Poetry"],"url":"https://fse.anthro.fr/stories/1173025-voice-heard","original_url":"https://sofurry.com/s/qmyRa6Rn","image_url":"https://cdn.sofurryfiles.com/submissions/thumbnails/9f/fb/9ffba682-25e3-43ae-b6b8-8624a623f9a0","description":"Not normally the sort of thing I post on here, but here we go.","content":"### voice heard\n \n\nthe status of free\u0026nbsp;\n\n \n\nverse\u0026nbsp;\n\n \n\npoetry\u0026nbsp;\n\n \n\nin the Euro-American poetic canon\u0026nbsp;\n\n \n\nhas heretofore been a question of voices\u0026nbsp;\n\n \n\nheard and\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; unheard \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\n\n \n\nyet, before the whimsy\u0026nbsp;\n\n \n\nof that canon can be discussed, the definition of _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nfor the purposes of this essay\u0026nbsp;\n\n \n\nmust be made\u0026nbsp;\n\n \n\nexplicit.\u0026nbsp;\n\n \n\nhere, _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\ndenotes four properties:\u0026nbsp;\n\n \n\n1) the self-expression of a person;\u0026nbsp;\n\n \n\n2) which carries with it the entirety of that person's personal context, in body, mind,\u0026nbsp;\n\n \n\nand society;\u0026nbsp;\n\n \n\n3) which is publicly available inasmuch as it can reach those who seek to engage with it,\u0026nbsp;\n\n \n\nregardless of wealth or status;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\n4) whose content remains unabated by any institution\n\n \n\nal force seeking to systematic\n\n \n\nally restrict\u0026nbsp;\n\n \n\nand promote certain types of expression.\n\n \n\nhaving now\u0026nbsp;\n\n \n\nthe beginnings of a definition of _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\n— and with the promise of further development\u0026nbsp;\n\n \n\nof that definition\u0026nbsp;\n\n \n\nto come —\u0026nbsp;\n\n \n\nit can now be said that, within the public\u0026nbsp;\n\n \n\nscholastic sector,\u0026nbsp;\n\n \n\na single archetype of _voice\u0026nbsp;_\n\n \n\n_heard_ first\u0026nbsp;\n\n \n\nbecame the voice of the Euro-American poetic canon,\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; then\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; subsequently\u0026nbsp;\n\n \n\nwrote itself into existence,\u0026nbsp;\n\n \n\nand others,\u0026nbsp;\n\n \n\nout.\u0026nbsp;\n\n \n\nThis archetype is the indebted scholar (Harney and Moten 62).\n\n \n\n \n\nexploring the voice of the indebted scholar requires\u0026nbsp;\n\n \n\nexplaining each property\u0026nbsp;\n\n \n\nof _voice\u0026nbsp;_\n\n \n\n_heard,_\n\n \n\nas only through a voice being heard\u0026nbsp;\n\n \n\ncan one not hear\u0026nbsp;\n\n \n\nanother.\u0026nbsp;\n\n \n\nthis can take many forms:\u0026nbsp;\n\n \n\nfor the first property,\u0026nbsp;\n\n \n\nself-expression is emphasized be\n\n \n\ncause a person is\u0026nbsp;\n\n \n\ncapable\u0026nbsp;\n\n \n\nof expressing only themselves.\u0026nbsp;\n\n \n\nindeed,\u0026nbsp;\n\n \n\nwhen one performs\u0026nbsp;\n\n \n\nethno\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; graphy,\u0026nbsp;\n\n \n\nextracts oral histories,\u0026nbsp;\n\n \n\nor reprints\u0026nbsp;\n\n \n\nanother's free verse,\u0026nbsp;\n\n \n\none harvests another person\n\n \n\n's self-expression and re-expresses it through one's\u0026nbsp;\n\n \n\nown\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; situated context.\u0026nbsp;\n\n \n\nin this way, the indebted scholar is in a state\u0026nbsp;\n\n \n\nof constant re\n\n \n\ninterpretation, collecting and\u0026nbsp;\n\n \n\n“offering to match credit for debt\" (Harney and Moten 62) as reimbursement\u0026nbsp;\n\n \n\nfor that person's voice going\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; unheard\u0026nbsp;\n\n \n\nand the indebted scholar's being heard\u0026nbsp;\n\n \n\n— yet that credit comes\u0026nbsp;\n\n \n\nin the form of\u0026nbsp;\n\n \n\nvouchers\u0026nbsp;\n\n \n\nthat can only be redeemed within the sphere\u0026nbsp;\n\n \n\nof the indebted scholar's\u0026nbsp;\n\n \n\ninfluence.\u0026nbsp;\n\n \n\nthey will print more\u0026nbsp;\n\n \n\nof one's poetry in their ant\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; hology,\u0026nbsp;\n\n \n\nemail one direct\n\n \n\nly for\u0026nbsp;\n\n \n\ncalls for submission\n\n \n\ns, and request pieces\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; from one for an upcoming work,\u0026nbsp;\n\n \n\nbut the indebted scholar decides\u0026nbsp;\n\n \n\nthe subject\u0026nbsp;\n\n \n\nof the anthology, what genres, themes, and\u0026nbsp;\n\n \n\nstructures\u0026nbsp;\n\n \n\nare worth exploring, and who\u0026nbsp;\n\n \n\nis appropriate\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; for the task.\u0026nbsp;\n\n \n\nthe poems will always be\u0026nbsp;\n\n \n\nframed by the indebted scholar, who drowns\u0026nbsp;\n\n \n\nin lent credit that can never be\u0026nbsp;\n\n \n\nredeemed quickly enough.\n\n \n\n \n\nwith the transformation of one\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; 's voice\u0026nbsp;\n\n \n\ninto the indebted scholar\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; 's _voice\u0026nbsp;_\n\n \n\n_\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; heard,_\n\n \n\nthe second property\u0026nbsp;\n\n \n\nof _voice\u0026nbsp;_\n\n \n\n_heard,\u0026nbsp;_\n\n \n\npersonal context,\u0026nbsp;\n\n \n\nis foreclosed upon as the person becomes disembodied\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; (Dumit 353),\u0026nbsp;\n\n \n\ntheir physic\n\n \n\nality, mentality, and struggles\u0026nbsp;\n\n \n\ndisappearing,\u0026nbsp;\n\n \n\nreplaced\u0026nbsp;\n\n \n\nby the text of the indebted scholar.\u0026nbsp;\n\n \n\nthe person is lost in translation\u0026nbsp;\n\n \n\nbe\n\n \n\ncause the Euro-American poetic canon\u0026nbsp;\n\n \n\nhas only one _voice\u0026nbsp;_\n\n \n\n_heard,\u0026nbsp;_\n\n \n\nand so those who evaluate\u0026nbsp;\n\n \n\nand consume\u0026nbsp;\n\n \n\npoetry should be able\u0026nbsp;\n\n \n\nto project the indebted scholar\u0026nbsp;\n\n \n\nonto\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\nback off of\u0026nbsp;\n\n \n\nthe page.\u0026nbsp;\n\n \n\nin this way, the poet is\u0026nbsp;\n\n \n\ncredited\u0026nbsp;\n\n \n\nfor their\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; contribution,\u0026nbsp;\n\n \n\nthe voice is\u0026nbsp;\n\n \n\nstripped\u0026nbsp;\n\n \n\nfrom the\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; verse\u0026nbsp;\n\n \n\nand the verse is\u0026nbsp;\n\n \n\nshipped across the\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; sea\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; to serve\u0026nbsp;\n\n \n\nin\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; the indebted scholar's exploits.\u0026nbsp;\n\n \n\nhowever, issues arise\u0026nbsp;\n\n \n\nwhen the indebted scholar meets with a dis\n\n \n\nsonant text:\u0026nbsp;\n\n \n\nthe free\u0026nbsp;\n\n \n\nverse.\u0026nbsp;\n\n \n\nwhen the trained\u0026nbsp;\n\n \n\near\u0026nbsp;\n\n \n\nhas learned well the rhythmic lilting _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nof the indebted scholar\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\nhas since ceased to study\u0026nbsp;\n\n \n\nother voices\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; (Harney and Moten 62),\u0026nbsp;\n\n \n\nit cannot grasp\u0026nbsp;\n\n \n\nthe free\u0026nbsp;\n\n \n\nverse,\u0026nbsp;\n\n \n\nas\u0026nbsp;\n\n \n\nit has know\n\n \n\nledge\u0026nbsp;\n\n \n\nonly en\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; compass\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; ing\u0026nbsp;\n\n \n\nthe indebted scholar.\u0026nbsp;\n\n \n\nthe verse cannot serve the scholar;\u0026nbsp;\n\n \n\nthe voice cannot be stripped from the verse and rebranded;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and thus,\u0026nbsp;\n\n \n\nthe poet cannot be given credit, and only accrues debt\u0026nbsp;\n\n \n\n— a debt of speaking into the\u0026nbsp;\n\n \n\nvoid\u0026nbsp;\n\n \n\nand listening for the unheard.\n\n \n\nthese acts of speaking\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; unheard\u0026nbsp;\n\n \n\nand listening\u0026nbsp;\n\n \n\nare study (Harney and Moten 62),\u0026nbsp;\n\n \n\nan act of know\n\n \n\nledge,\u0026nbsp;\n\n \n\nwhere\u0026nbsp;\n\n \n\none empties and loses\u0026nbsp;\n\n \n\nwhat they held as know\n\n \n\nledge.\u0026nbsp;\n\n \n\nhere, the third property\u0026nbsp;\n\n \n\nof _voice\u0026nbsp;_\n\n \n\n_heard,_\n\n \n\npublic access, is invoked, as the indebted scholar has this\u0026nbsp;\n\n \n\nin all the wrong ways.\u0026nbsp;\n\n \n\nthe letters sent\u0026nbsp;\n\n \n\nbetween\u0026nbsp;\n\n \n\nlettered friends\u0026nbsp;\n\n \n\nsharing poems were not open letters to the\u0026nbsp;\n\n \n\nunlettered public,\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; but\u0026nbsp;\n\n \n\nthey received each other;\u0026nbsp;\n\n \n\nthe pro\n\n \n\ngenitors did not have platforms\u0026nbsp;\n\n \n\non which they could proliferate their poetry with\n\n \n\nout boundaries,\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; but\u0026nbsp;\n\n \n\nthey could share with others who became pro\n\n \n\ngenitors and disciples;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\nbooks were\u0026nbsp;\n\n \n\n(are)\u0026nbsp;\n\n \n\nexpensive\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\nmade\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; by\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; for\u0026nbsp;\n\n \n\nother indebted scholars.\u0026nbsp;\n\n \n\nyet, the poetry\u0026nbsp;\n\n \n\ncollections first read then learned\u0026nbsp;\n\n \n\nby indebted scholars are rhymed\u0026nbsp;\n\n \n\nand metered,\u0026nbsp;\n\n \n\nand\u0026nbsp;\n\n \n\nso\u0026nbsp;\n\n \n\nthey produce poetry\u0026nbsp;\n\n \n\ncollections that are rhymed\u0026nbsp;\n\n \n\nand metered,\u0026nbsp;\n\n \n\nwhich are first read and then learned\u0026nbsp;\n\n \n\nby subsequent indebted scholars, who produce poetry\u0026nbsp;\n\n \n\ncollections based on having their\u0026nbsp;\n\n \n\nknow\n\n \n\nledge, writing their own canon into existence.\u0026nbsp;\n\n \n\nthe free verse\u0026nbsp;\n\n \n\npoem is never read first, and then\u0026nbsp;\n\n \n\nnever read, because when it can be\u0026nbsp;\n\n \n\nread, it is no longer a\u0026nbsp;\n\n \n\npoem,\u0026nbsp;\n\n \n\nbut\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; degeneracy.\u0026nbsp;\n\n \n\nif the indebted scholar studied\u0026nbsp;\n\n \n\n— accruing debt by losing\u0026nbsp;\n\n \n\nknow\n\n \n\nledge,\u0026nbsp;\n\n \n\nrather than by lending credit\u0026nbsp;\n\n \n\nto those who then\u0026nbsp;\n\n \n\nmust lend credit —\u0026nbsp;\n\n \n\nthey would no longer be\u0026nbsp;\n\n \n\nspeaking\u0026nbsp;\n\n \n\nand thus be\u0026nbsp;\n\n \n\nable to hear the other voices.\u0026nbsp;\n\n \n\ninstead, those voices are written out\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; until\u0026nbsp;\n\n \n\nthey submit and\u0026nbsp;\n\n \n\naccept credit.\n\n \n\n \n\nthe fourth property\u0026nbsp;\n\n \n\nof \\\u003ci\\\u003evoice\u0026nbsp;\n\n \n\nheard, \\\u003c/i\\\u003e\n\n \n\nsystematic restriction and promotion, over\n\n \n\nlaps with\u0026nbsp;\n\n \n\nall of the above.\u0026nbsp;\n\n \n\nthe indebted scholar is an institution\u0026nbsp;\n\n \n\nthat promotes its own self\n\n \n\n-expression\u0026nbsp;\n\n \n\nof poetry\u0026nbsp;\n\n \n\nto survive;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; they decide\u0026nbsp;\n\n \n\nwhich contexts should be\u0026nbsp;\n\n \n\nexpressed by poetry,\u0026nbsp;\n\n \n\nand\u0026nbsp;\n\n \n\nhow;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; they decide\u0026nbsp;\n\n \n\nwhat is\u0026nbsp;\n\n \n\nand isn't\u0026nbsp;\n\n \n\npoetry;\u0026nbsp;\n\n \n\nand when their _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nbecomes threatened by the likes of free verse\u0026nbsp;\n\n \n\npoets, they consume\u0026nbsp;\n\n \n\nthe free verse and reinterpret it as their own.\u0026nbsp;\n\n \n\nthe free verse which wasn't\u0026nbsp;\n\n \n\npoetry\u0026nbsp;\n\n \n\nin accordance with their\u0026nbsp;\n\n \n\ncalcified learnings\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; (Harney and Moten 62)\u0026nbsp;\n\n \n\nbecomes\u0026nbsp;\n\n \n\npoetry, subject\u0026nbsp;\n\n \n\nto the indebted scholar's approval.\u0026nbsp;\n\n \n\nwhitman becomes the father of the free\u0026nbsp;\n\n \n\nverse\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; (Reynolds 314),\u0026nbsp;\n\n \n\neven though there were others\u0026nbsp;\n\n \n\nwriting free\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; verse, be\n\n \n\ncause in a domain of silence,\u0026nbsp;\n\n \n\nother voices could be\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; heard\u0026nbsp;\n\n \n\nif the indebted scholar was not\u0026nbsp;\n\n \n\nspeaking.\u0026nbsp;\n\n \n\nso, the indebted scholar calls for submission\n\n \n\ns\u0026nbsp;\n\n \n\nof free verse\u0026nbsp;\n\n \n\nonly,\u0026nbsp;\n\n \n\npublishes their free\u0026nbsp;\n\n \n\nverse anthology,\u0026nbsp;\n\n \n\nasks poets for free\u0026nbsp;\n\n \n\nverses to critique academically, lending a new type\u0026nbsp;\n\n \n\nof credit\u0026nbsp;\n\n \n\nin exchange for the halting of study.\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; then,\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; once again,\u0026nbsp;\n\n \n\nthe indebted scholar is\u0026nbsp;\n\n \n\nthe only _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nin the Euro-American poetic canon, as their voice makes\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; unheard\u0026nbsp;\n\n \n\nall others.\n\n \n\n \n\nin summary, a definition of _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nwas given\u0026nbsp;\n\n \n\nfor the context of this essay,\u0026nbsp;\n\n \n\nand used\u0026nbsp;\n\n \n\nas a medium to explore the way in which the arche\n\n \n\ntypical _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nof the indebted scholar became the sole\u0026nbsp;\n\n \n\n_voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nof the Euro-American poetic canon,\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\nhow that altered the nature\u0026nbsp;\n\n \n\nof free verse\u0026nbsp;\n\n \n\npoetry.\u0026nbsp;\n\n \n\nby examining a\n\n \n\nlong\n\n \n\nside the indebted scholar:\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; self-expression\u0026nbsp;\n\n \n\nversus reinterpretation;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; personal context\u0026nbsp;\n\n \n\nversus general context;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; public access\u0026nbsp;\n\n \n\nversus private access;\u0026nbsp;\n\n \n\nand\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; systematic control\u0026nbsp;\n\n \n\nversus uncontrolled transmission,\u0026nbsp;\n\n \n\nthree events were established:\u0026nbsp;\n\n \n\nthe establishment of the indebted scholar\n\n \n\n's _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\nand thus Euro-American poetic canon, where know\n\n \n\nledge\u0026nbsp;\n\n \n\nis credit lent to learn and lend credit;\u0026nbsp;\n\n \n\nfree\u0026nbsp;\n\n \n\nverse as an act of study\u0026nbsp;\n\n \n\nin the domain of poetry, where\u0026nbsp;\n\n \n\none empties one\n\n \n\nself of the poetic canon so as to be able to study more;\u0026nbsp;\n\n \n\n\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; and\u0026nbsp;\n\n \n\nthe assimilation of free\u0026nbsp;\n\n \n\nverse into the Euro-American poetic canon so as to become\u0026nbsp;\n\n \n\nthe only _voice\u0026nbsp;_\n\n \n\n_heard\u0026nbsp;_\n\n \n\non the subject of the free\u0026nbsp;\n\n \n\nverse,\u0026nbsp;\n\n \n\nand once again write out\u0026nbsp;\n\n \n\nother voices.\n\n \n\n \n### bibliography\n \n\nDumit, Joseph. \"Writing the implosion: Teaching the world one thing at a time.\" _Cultural Anthropology_\u0026nbsp;29.2 (2014): 344-362.\n\n \n\nHaraway, Donna. \"Teddy bear patriarchy: Taxidermy in the garden of Eden, New York City, 1908-1936.\" _Social Text 11_\u0026nbsp;(1984): 20-64.\n\n \n\nHarney, Stefano and Fred Moten. 2013. EXCERPTS. _The Undercommons: Fugitive Planning and Black Study._\u0026nbsp;62, 67-68, 124-127\n\n \n\nReynolds, David S. _Walt Whitman's America: A Cultural Biography._\u0026nbsp;New York: Vintage Books, 1995. ISBN 0-679-76709-6","series":{"name":"Poetry Postings","previous":"https://fse.anthro.fr/stories/1172162-the-epic-of-boozy-barrister.json","next":"https://fse.anthro.fr/stories/1174010-face-paints-haiku-construction.json"}}