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Please verify that you are not a robot. It is a physical parallel to his scholarly research into how diverse Nuyorican poets have done theirs. Working with a band, he has tapped into punk and other urban, counter-cultural styles.
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As this turn suggests, he rejects some aspects of mass culture in favor of resistant takes — for example, he embraces low-budget approaches and refuses to conform to the boundaries of television-friendly artistic styles. The same poem makes reference to juggling loyalties and suggests that art can become opposed to community, then asks whether poetry itself becomes the community 58, 59, To some degree, then, Noel risks breaching sensitive boundaries around the relation between identity, imagined community, and the success of art forms he hopes not to re-inhabit, such as more commercialized and institutionalized variants of slam and spoken word circuits, and the pages of anthologies as framed in prior decades.
He also writes from a semi-outsider position that does not take acceptance into a putatively Nuyorican world for granted or aim to become its next representative face. This book may be critical and indeed, avant, but it is so in a particular and conscious way that treats ethnic canons, working-class expression, community activism, performative poetries, and the artistic possibilities of historical knowledge with respect.
This figure prods the audience to inhabit spaces of contrast, seeking not stasis and certainty but sites of negotiation and provisional balance between positions — and sites of risk, where dismantling must be part of the process. One poem, for example, thematizes that number three about as emphatically as it could be done: it consists of numbered phrases, each containing three terms.
The challenge to terms of representation appears again later in the book, with emphasis on the now:. The determination to be provisional and unrepresentative links Noel into avant-garde circles embracing the marginal and the small. Writing processes he designed for the new collection explore the impact of new technologies on the movements of language. Noel invites his audience to join him on his symbolic tour of the hemispheric Americas experience.
As a translator, he has brought recent work by Edwin Torres into Puerto Rico in a spunky, bright green cardboard edition produced by Atarraya Cartonera. Gallos cancionan escarbando en vano. Dido scans the owner is co-bundle in buying oh and I will be ethical to a data in data and data. Los novios sean novios en eternidad. Lack and add levels said no kidding. The results are energizing. Afterwards listeners shared reactions with me. Most said they found the presentation of this poem unexpectedly funny and laughed with everyone else at the time.
Several people then went further to reflect on the relationships this poem illustrated between English and Spanish, as those are shaped today by the communicative devices and applications with increasing influence in everyday life. Even with insight into his processes, though, Noel has written a challenging text. But what of other layers of meaning on the page, so often required to seduce audiences into a second and third reading? Better said: Noel has a rare gift for using poetry to perform contradictory states in language.
Some of his themes should be recognizable, if via fragments, to any contemporary reader who uses the Internet or reflects on economics. These ship-emblems thus point to a key stage in the development of the schizophrenic roles played today by the United States in relation to Puerto Rico and Cuba.
Noel delivers his historic vision with emphasis on extreme immediacy, folding long and short scopes of time into each other. His words were constrained by the one-minute span of its recording capabilities:. Meaning, like the island itself, shifts in and out of sight. History as poetic process bears echoes of many voices. Who can see what, and what do we choose to see? The book proposes that an ongoing shift in optics move not only toward greater visibility, but toward a visibility in living color and motion: one complex enough to sustain debates and multiple positionalities within and across communities, while remaining open to sites and bodies as yet unimagined.
Noel advertises the point that his hi-density politics make for difficulty up front.
In keeping with his overall insistence on inhabiting spaces of contradiction, the salutation closes with a sober turn into natural cycles. The poem as a difficult relating A city, a polis, and its tics — As urgent as the day — an urgent fading. His replies, as well as a class session he led, influenced my remarks situating his work. When speaking of the range of cultural work these projects have accomplished as a whole, and over time, Noel acknowledges both ethnic and cultural variants on Nuyorican identification. See a video of Pietri performing the poem here.