In America, writing oneself into history demanded a "poetics of displacement" (Aranda 191), a poetics that documented this displacement in remarkably direct ways. Turning away from metaphorical writing, Mexican-American poets affirmed the right of the poem to testify and document, to auto-narrate, taking a Puritan model and reinventing it, thereby adopting the mode of the oppressor, recognizing its power to stimulate consciousness about oppression and reinventing it to defy the oppressor's systems of neglect in modern times.
two poems by j. michael martinez: white & xicano
newpages talks a bit about palabra:
There is a kind of shimmering energy in nearly every piece in the issue. Taut rhythms (“He maps the stone with the quill of a quetzal: 39.705°-105.08°” from John-Michael Rivera’s prose poem, “This is not mano…a conversation with René Magritte”). Language that lures and seduces (“María to Mars-ico / with her mouth // factory sealed” from the Martínez Pompa poem mentioned above). Tender, lyrical impulses (“Here, an open drape / parted by fingers of wind.” from “House without Doors,” by Carolina Morales). Smart, tense timing (“Carmella Santiago begged her husband not to pull the trigger. But when he did, she fell in love with him all over again” – the opening lines of “The Lamentable Inauguration of the Honorary Santiago Freeway, short fiction from Aaron Michael Morales).
another poem by j. michael martinez: white song.