I. Secondary/Theoretical Works
Ehlers, Sarah. “Introduction” and “I. Documentary.” Left of Poetry : Depression America and the Formation of Modern Poetics. The University of North Carolina Press, 2020.
Evans, Olivia Milroy. “Ekphrasis as Evidence: Forensic Rhetoric in Contemporary Documentary Poetry.” Word & Image (London. 1985), vol. 37, no. 2, 2021, pp. 142–51, https://doi.org/10.1080/02666286.2020.1866969.
Leong, Michael. Contested Records : The Turn to Documents in Contemporary North American Poetry. University of Iowa Press, 2020.
Michaels, Walter Benn. “Formal Feelings.” The Beauty of a Social Problem, University of Chicago Press, 2015, https://doi.org/10.7208/chicago/9780226210438.003.0001.
Nelson, Maggie. “All That Is the Case: Some Thoughts on Fact in Nonfiction and Documentary Poetry.” Lit from Within, 1st ed., Ohio University Press, 2011, pp. 154-.
*Primary Source
Nelson, Maggie. Jane: A Murder. Soft Skull, 2016.
II. Academic Journal
Word & Image. Taylor & Francis., est. 1985. (Survey 2023)
III. Keywords
documentary, poetics, genre, subversion, representation
IV. systems or questions that frame my inquiry
I’ve admittedly been struggling to decide on a topic for my thesis, as there is so much that interests me, and so much that I could satisfyingly write about. The original topic I thought just had too many answered questions, and would not produce an original or innovative final paper. So, I started thinking about what I wished I could’ve written more about in past classes, and I began reflecting on a class I took my first year of college, U.S. modernist poetry. I enjoyed this class so much because as a songwriter I’m interested in ways to use the poetic form and what can be conveyed through existing structures. In the class we read Muriel Rukeyser’s The Book of the Dead, a documentary poetry collection about a West Virginian mining company’s deadly conditions. Modernist forms of poetry have always been my favorite because they push the boundaries of the genre, and this was no exception. Using poetry to both represent and expand upon existing images and events interests me because of the layers poetry must use to incite meaning-making. Documentary poetics that deal with crime are particularly demonstrative of this idea, as both the event and the poetry itself hide aspects of the whole that can only be uncovered through analysis of context and genre formation. Hopefully through an exploration of this genre I can solidify some of these ideas about the form, function, and how real-life events and poetics converge through the inner workings of both.