Relevant bibliographies by topics / Contemporary African Poetry

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contemporary African Poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Contemporary African Poetry"

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Kočan Šalamon, Kristina. "Translating Culture: Contemporary African American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 12, no. 2 (December 29, 2015): 211–24. http://dx.doi.org/10.4312/elope.12.2.211-224.

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The paper interrogates cultural specifics of contemporary African American poetry and exhibits translation problems when translating this poetic work. African American writers have always included much of their cultural heritage in their writing and this is immediately noticed by a translator. The cultural elements, such as African American cuisine, attire and style in general, as well as spiritual and religious practices, often play a significant role for African American poets who are proclaiming their identity. Moreover, the paper presents the translation problems that emerge when attempting to transfer such a specific, even exotic, source culture into a target culture, like Slovene. The goal is to show to what extent contemporary African American poetry can successfully be translated into the Slovene language and to highlight the parts that inevitably remain lost in the translation process.
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D’Abdon, R. "RESISTANCE POETRY IN POST-APARTHEID SOUTH AFRICA: AN ANALYSIS OF THE POETIC WORKS AND CULTURAL ACTIVISM OF VANONI BILA." Southern African Journal for Folklore Studies 24, no. 1 (September 30, 2016): 98–121. http://dx.doi.org/10.25159/1016-8427/1675.

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The article explores selected works of Vonani Bila, one of the most influential wordsmiths of post-apartheid South Africa. It outlines the difference between “protest poetry” and “resistance poetry”, and contextualises the contemporary expression(s) of the latter within today’s South Africa’s poetry scene. Focusing on Bila’s “politically engaged” poems and cultural activism, this article maintains that resistance poetry has re-invented itself in the post-94 cultural scenario, and still represents a valid tool in the hands of poets to creatively expose and criticize the enduring contradictions of South African society
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Arifin, Zamri, and Emad Hamza M. Arrabea. "QADIYAH AL-ISTI'BAD FI SYI'R MUHAMMAD AL-FAYTURI." Arabi : Journal of Arabic Studies 2, no. 1 (August 6, 2017): 113. http://dx.doi.org/10.24865/ajas.v2i1.10.

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The issue of slavery is one of the most important issues that have plagued mankind, both ancient and modern. The contemporary Arab poet Muhammad Miftah al-Fittouri was the first Arab poet to address this issue and to discuss the issues of African and Zenism in a qualitative and quantitative manner. Therefore, this study is aimed at presenting the efforts of the scholars of this issue in the poetry of this poet. The study revealed the intersections of the poetry with the components and manifestations of the issue of (slavery) and the different poetic stages, as demonstrated by the poet's poetic. The research concluded that the literary and monetary field lacked a systematic study of this issue, revealing its motives and artistic manifestations, and the various aspects of it emerge according to a modern scientific method.
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Fernandes, Lilly. "A Survey of Contemporary African American Poetry, Drama, & Fiction." International Journal of Applied Linguistics & English Literature 2, no. 3 (May 1, 2013): 134–37. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.3p.134.

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Thorpe, Michael, and Don Burness. "Echoes of the Sunbird: An Anthology of Contemporary African Poetry." World Literature Today 67, no. 4 (1993): 873. http://dx.doi.org/10.2307/40149768.

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Kočan, Kristina. "Problems in Translating Musical Elements in African American Poetry after 1950." ELOPE: English Language Overseas Perspectives and Enquiries 6, no. 1-2 (June 15, 2009): 45–60. http://dx.doi.org/10.4312/elope.6.1-2.45-60.

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In most cases, African American poetry eschews traditional literary norms. Contemporary African American poets tend to ignore grammatical rules, use unusual typography on many occasions, include much of their cultural heritage in their poetry, and interweave musical elements into literary genres. The influence of such musical genres as jazz, blues, soul, and gospel, together with the dilemmas that occur for the translator, will be shown to great extent, since music, like black speech, is a major part of African American culture and literature. The translator will have to maintain the specific African American rhythm, blues adaptations and the improvisational language under the jazz impact. The paper presents the problems in translating post-1950 African American poetry into Slovene, and asks to what extent can one successfully transfer the musical elements within this poetry for the target culture? Inevitably, it will identify a share of elements that are lost in translation.
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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.

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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.
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THORSSON, COURTNEY. "Foodways in Contemporary African American Poetry: Harryette Mullen and Evie Shockley." Contemporary Literature 57, no. 2 (2016): 184–215. http://dx.doi.org/10.3368/cl.57.2.184.

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Martin, Herbert Woodward, and Alan Spears. "Fast Talk, Full Volume: An Anthology of Contemporary African American Poetry." African American Review 31, no. 2 (1997): 360. http://dx.doi.org/10.2307/3042493.

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Gqola, Pumla Dineo. "Whirling worlds? Women's poetry, feminist imagination and contemporary South African publics." Scrutiny2 16, no. 2 (September 2011): 5–11. http://dx.doi.org/10.1080/18125441.2011.631823.

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Dissertations / Theses on the topic "Contemporary African Poetry"

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Fogarty, William. "Local Languages: The Forms of Speech in Contemporary Poetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19662.

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Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.
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Kaschula, Russell H. "The transitional role of the Xhosa oral poet in contemporary South African society." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002085.

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This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion
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Cuadrado-Femandez, Antonio. "Making 'Sense' : Reading Textual Space in the Contemporary; Anglophone Poetry of 3 South African, Palestinian and Indigenous Australian Writers." Thesis, University of East Anglia, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520421.

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Foster, Benjamin Thomas. "HISTORICAL INTIMACY: CONTEMPORARY RECLAMATIONS OF AFRICAN AMERICAN HISTORY IN THE DRAMA, POETRY, AND FICTION OF SUZAN-LORI PARKS, NATASHA TRETHEWAY, AND COLSON WHITEHEAD." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1066.

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Three contemporary authors – Suzan-Lori Parks, Natasha Trethewey, and Colson Whitehead – within the African American Literary Tradition explore relationships to history in light of a dominant rhetoric that represents African American history through a white, hegemonic lens. In Parks’ The America Play, Trethewey’s Bellocq’s Ophelia, and Whitehead’s The Intuitionist, these authors comment on historical representation through such symbols as iconic figures like Abraham Lincoln, photographs, and elevators as starting points to explore the possibility of an independent space for African American history. Rather than remarking on just the representation of the artifact, however, the authors enter a conversation on how history is remembered and experienced. Parks, Trethewey, and Whitehead each form their own expression on historical representation; in each case, their works address the ability, or inability, to achieve historical intimacy amidst a push back from hegemonic narratives in the public eye. Historical intimacy, as the leading concept of the dissertation, refers to developing a close proximity to history not as a mere representation but as lived experience. Parks sees historical insight developing only through brief moments of intimate contact, if at all. Trethewey imagines personal, even sensual, familiarity with the subjects of her poems as a way of breaking through social frames and learning to connect with the past. Whitehead works through paradoxes to dissolve representational patterns of discourse, like verticality, and reach for a post-rational space wherein both open historical possibility, which stresses self-reflexivity, and a foundation in a “real,” experienced history unlock the opportunity for the construction of an intimate history. Although no author presents historical intimacy as an achieved goal, their works suggest varying degrees of potential and connection.
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Kozain, Rustum. "Contemporary english oral poetry by black poets in Great Britain and South Africa : a comparison between Linton Kwesi Johnson and Mzwakhe Mbuli." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/20139.

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Bibliography: pages 242-266.
The general aims of this dissertation are: to study a form of literature traditionally disregarded by a text-bound academy; to argue that form is an important element in ideological analyses of the poetry under discussion; and, on the basis of this second aim, to argue for a comparative, rigorously critical approach to the poetry of Mzwakhe Mbuli. Previous evaluations of Mbuli's poetry are characterised by acclaim which, the author contends, is only possible because of under-researched criticism, representing a general trend in South African literary culture. Compared to Linton Kwesi Johnson's work, for instance, Mbuli's poetry does not emerge as the innovative and progressive art - in both content and form - it is claimed to be. Mbuli and his critics are thus read as a case study of a general trend. Johnson and Mbuli mainly perform their poetry with musical accompaniment and distribute it as sound-recording. This study's approach then differs from the approaches of general oral literature studies because influential writers on oral literature - specifically Walter J. Ong, Ruth Finnegan and Paul Zumthor - do not address the genre under investigation here. Nevertheless, their writings are explored in order to show why particularly Ong and Finnegan's approaches are inadequate. The author argues that using the orality of the poetry as an organising, theoretical principle is insufficient for the task at hand. On cue from Zumthor, this study suggests an approach through Cultural Studies and conceives of the subject matter as popular culture.
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Kiguli, Susan Nalugwa. "Oral poetry and popular song in post-apartheid South Africa and post-civil war Uganda : a comparative study of contemporary performance." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411560.

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Mpuma, Nondwe. "Around a Fire: Poems of Memory and Ritual." University of the Western Cape, 2019. http://hdl.handle.net/11394/7436.

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Magister Artium - MA
This Creative Writing mini-thesis offers a deep meditation on what it means to speak to ritual and memory. The thesis is compiled from a collection of original creative work as well as a short reflective essay that present a critical analysis of the creative pieces in relation to the ideas I present. The first of these ideas being, memory as an encapsulation of the past, present and future as explored by writers such as W.G. Sebald and Toni Morrison. This collection examines an understanding of memory and ritual as being uncontained, as constant providers of stimulation for a range of literary responses. Ritual will be regarded primarily in the South African context where there is the intersection of the urban and rural landscapes both physically and metaphorically. In this regard I am thinking alongside writers such as Louise Glúck and Vangile Gantsho. The understanding of ritual is extended to the realm of spirituality where Christianity and African spirituality exist both harmoniously and in conflict. In short, the collection of poems and the reflective essay will explore the ways that memory and ritual interact in time and they will collectively contribute to the production of literature in South Africa.
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Mashige, Mashudu Churchill. "Identity, culture and contemporary South African poetry." Thesis, 2007. http://hdl.handle.net/10210/25.

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The main focus of this thesis is to examine how identity and culture are conceived and articulated in a representative selection of contemporary South African poetry. In the introductory chapter, an examination is made of the concepts of identity and culture, in the course of which the polarities of inside and outside, self and other, personal and political, subjective and objective, are carefully examined. Then, through close textual reference to relevant poems considered under the titles “Poetry of the Self”, “Black Consciousness Poetry”, “The Poetry of Revolution”, “Worker Poetry” and “Feminist Poetry”, the thesis attempts, by tracing the dialectical relationship of these polarities, to analyse how each putative body of poetry conceives and articulates cultural identity. The concluding chapter of the thesis, titled “Towards a New Aesthetics”, argues that current research into the relationship between identity and culture opens the way to a “new” aesthetics, a new literary-critical practice, one that takes into cognisance the intersubjective complexities that shape cultural expression.
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Mashige, Mashudu Churchill. "Politics and aesthetics in contemporary black South African poetry." Thesis, 2012. http://hdl.handle.net/10210/7166.

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M.A.
In this dissertation an examination is made of the different strands of contemporary South African protest and resistance poetry. This is done by way of analysing selected poems to highlight the relationship which exists between politics and aesthetics and to illustrate that the two concepts are not mutually exclusive. A brief history of written African protest and resistance poetry is provided in an attempt to put this poetry within its historical context and to trace its influences and development. The poems are then examined with the express aim of identifying and understanding their themes and the socio-political contexts from which they emanate. These contexts are then shown to have important implications in so far as the aesthetics of protest and resistance poetry is concerned. The dissertation highlights the fact that for this poetry to be fully appreciated, there is a need to recognize the particular circumstances which surround it. This recognition is essential because these circumstances are instrumental in the shaping of the poetry and the formation of an aesthetics of protest and resistance. An examination of whether this type of poetry has any socio-political relevance and literary significance to contemporary South Africa is made.
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Mosoti, Edwin. "A comparative study of contemporary East and West African poetry in English." Thesis, 2012. http://hdl.handle.net/10539/11878.

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Ph.D. University of the Witwatersrand, Faculty of Humanities, 2012
Modern African poetry in English is a product of a number of literary traditions broadly categorised as either „indigenous‟ or „alien‟ to Africa. Working on the premise that these vary from one region to another, this study seeks to compare the myriad of poetic influences and traditions as manifested in contemporary East and West African poetry of English expression using a corpus of selected contemporary African poems. The contemporary era, here temporally defined as the post 1980s period, is typified by borrowing across literary genres and traditions to the point where the boundaries of what may be designated as „indigenous‟ or „alien‟ has become difficult to determine and distinguish. Core to my thesis is what Jan Ramazani (2001) designates as the hybrid muse, which ensures that contemporary poetry or poetic discourses explicitly or implicitly acknowledge that they are defined by their relationship to others, hence regarded as „epochal continuities‟ of foundational poetics. The study seeks to illustrate how creative writing, in particular poetic composition, emerging from the two regions exhibits affinities, parallels, as well as inter-connectedness despite the much emphasised disparities and peculiarities. Central to contemporary poetry examined in this study is „song‟ as a metaphor for its characteristic hybrid nature. The following chapters engage with different facets of song; from the praise song – hatched as a dirge in Chapter Two, mashairi as a Swahili sung poem tradition influencing poetry in written English in Chapter Three, what Osundare calls „songs of the season‟ in Chapter Four and how the experiment dialogues with journalistic discourses, song school and the different „Lawinos‟ singing in contemporary times in Chapter Five, through to Mugo‟s mother‟s poem and other songs in Chapter Six. Recent poetry from Africa is replete with and informed by diverse texts and intellectual discourses available to the poet in East or West Africa. Despite the much emphasized differences, I argue that there need not be explicit intertextual relations; that even when produced or consumed in tregion („solitary speaker‟), contemporary poetry still typically includes „language‟ or textual material derived not just from a „socially diverse discursive formation‟ but econo-political and intellectual environment underpinning the „other‟. The contemporary socio-political and economic conditions as well as various institutional parameters ensure that sharp differences in thematic preoccupations and aesthetic – are not as much as they may have been portrayed in “foundational poetry”. Considering the commonality in contemporary poetry issues from more or less the same pool of texts, intertextuality marking the era therefore evidences dialogues within and across the regions examined
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Books on the topic "Contemporary African Poetry"

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Botsotso: An anthology of contemporary South African poetry. Hastings: Reality Street, 2009.

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Bittersweet: Contemporary Black Women's Poetry. London, United Kingdom: The Women's Press, 2001.

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The great Black North: Contemporary African Canadian poetry. Calgary, Alta: Frontenac House Poetry, 2013.

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A thousand voices rising: An anthology of contemporary African poetry. [Kampala?]: Gilgal Media Arts, 2014.

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Angles of ascent: A Norton anthology of contemporary African American poetry. New York: W.W. Norton & Co., 2012.

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Holliday, Kene. The book of K-III: The contemporary poetics of Kene Hol[l]iday. Los Angeles, Calif: Milligan's Books, 1998.

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Bernard, Stanley. Why does a black poet?: Contemporary musings of an African descendant. Bridgeport, CT: Kushite Multimedia, 2002.

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Bodunde, Charles. Oral traditions and aesthetic transfer: Creativity and social vision in contemporary Black poetry. Bayreuth: Bayreuth University, 2001.

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Dube, Pamela. Contemporary English performance poetry in Canada and South Africa: A comparative study of the main motifs and poetic techniques. Heidelberg: Universitätsverlag C. Winter, 1997.

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Thacher, Jean-Louise N. An annotated partial bibliography of contemporary Middle Eastern and North African poetry, prose, drama, and folktales. 4th ed. Austin, TX: Published by the Middle East Outreach Council, 1991.

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Book chapters on the topic "Contemporary African Poetry"

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Nopece, Unathi. "Linguistic (and Non-linguistic) Influences on Urban Performance Poetry in South African Contemporary Youth Culture." In African Youth Languages, 205–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64562-9_10.

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Simon, Robert. "From the Hybrid to the Transcultural: A Comparative Study on Orality in the Poetry of Contemporary." In The Palgrave Handbook of African Oral Traditions and Folklore, 701–13. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_34.

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Piçarra, Maria do Carmo. "Resistance and political awareness through the poetic gaze of Sarah Maldoror." In Contemporary Lusophone African Film, 63–79. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Remapping world cinema: regional tensions and global transformations: Routledge, 2020. http://dx.doi.org/10.4324/9780429026836-4.

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"Contemporary African American Poetry." In A History of African American Poetry, 194–230. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139548939.005.

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Müller, Timo. "The Spaces of Black Experimental Poetry." In The African American Sonnet, 109–28. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0007.

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This chapter reads black experimental poetry of the late twentieth and early twenty-first centuries through the lens of the sonnet. While scholars such as Aldon Nielsen and Anthony Reed have stressed the temporal dimension of this poetry, the popularity of the sonnet among black experimental poets draws attention to the spatial dimension. In close readings of sonnet sequences by Ed Roberson, Wanda Coleman, Rita Dove, G. E. Patterson, and Wanda Phipps, the chapter shows how these poets use techniques such as seriality and fragmentation to explore the interstices of contemporary discourses about blackness, question conventionalized meanings, and envision a sphere of semantic openness that overcomes racial stereotypes and limiting ascriptions.
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"Repression and Beyond: Ideological Commitment and Style in Jack Mapanje’s and Steve Chimombo’s Poetry." In Reading Contemporary African Literature, 261–91. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209373_016.

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"Transitions in South African Urban Poetry: The City of Johannesburg in Three Poems of the Apartheid Period." In Reading Contemporary African Literature, 335–53. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209373_019.

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"Abderrahman El Fathi: An Averroist Perspective of His Poetry." In African Immigrants in Contemporary Spanish Texts, 265–88. Routledge, 2016. http://dx.doi.org/10.4324/9781315566023-19.

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"Oguaa Aban and Cape Coast Castle: Same Edifice, Different Metaphors in the Poetry of Gaddiel Acquaah and Kwadwo Opuku-Agyemang." In Reading Contemporary African Literature, 293–308. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209373_017.

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Turner, Daniel Cross. "Countercultural Structures of Contemporary Global South Poetry." In Bohemian South. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631677.003.0006.

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This essay heeds the fractal reckonings of countermemory—disparate strains of collective memory that resist totalizing models of official historiography—in an array of contemporary poets of the hemispheric South, who are highly attuned to the southern bohemian ethos: Yusef Komunyakaa, Derek Walcott, Brenda Marie Osbey, Kwame Dawes, as well as reggae icon Bob Marley. These poets share a sense of the Gulf and Atlantic cultures as open to transnational, cross-ethnic flows through black diasporic histories streamed along permeable coastlines. The analysis points up the progressive creativity fostered by a hippikat (Wolof “open-eyed”) poetics, one that resets our connection to place from an ecological vantage even as it expands preexisting academic accounts of the field. Drawing from Ras Michael Brown’s recent history of the African Atlantic, the essay shows how contemporary southern poetry shifts us past previous conceptions of “southernness” and into the explicitly transregional, transcultural ethos of current global southern studies.
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