Poetry And The Police

Listen to "An Electronic Cabaret: Paris Street Songs, 1748–50" for songs from Poetry and the PoliceAudio recording copyright © 2010 by the President and Fellows of Harvard College. All rights reserved. In spring 1749, François Bonis, a medical student in Paris, found himself unexpectedly hauled off to the Bastille for distributing an “abominable poem about the king.” So began the Affair of the Fourteen, a police crackdown on ordinary citizens for unauthorized poetry recitals. Why was the official response to these poems so intense? In this captivating book, Robert Darnton follows the poems as they passed through several media: copied on scraps of paper, dictated from one person to another, memorized and declaimed to an audience. But the most effective dispersal occurred through music, when poems were sung to familiar tunes. Lyrics often referred to current events or revealed popular attitudes toward the royal court. The songs provided a running commentary on public affairs, and Darnton brilliantly traces how the lyrics fit into song cycles that carried messages through the streets of Paris during a period of rising discontent. He uncovers a complex communication network, illuminating the way information circulated in a semi-literate society. This lucid and entertaining book reminds us of both the importance of oral exchanges in the history of communication and the power of “viral” networks long before our internet age.

The Dream Police collects the best poems from five of his previous books and also includes a selection of new works. From his darkly erotic early verse to the more refined, post-punk poems, to his later experimental pieces. Cooper's evolving study of the distances in romantic relationships has made him a singular voice in American poetry.

Wordsworth's Vagrants explores the poet's treatment of the 'idle and disorderly' in the context of the penal laws of the 1790s, when the terror of the French Revolution caused a crackdown on the beggars and vagrants who roamed the English countryside. From the Salisbury Plain poems through to Lyrical Ballads, Quentin Bailey's readings are sensitive to Wordsworth's early radicalism without equating his socio-political engagement solely with support for the French Revolution.

The first collection of poetry that allows us to see police officers not just as brutalizers or heroes but as complicated human beings in a position that is sometimes terrifying, sometimes rewarding and often questionable. On a daily basis police save lives, take lives, and risk their own lives. Existing books on police and policing give us a single point-of-view, a black and white story that portrays cops as either saints or villains. This exploration of the dynamic point of understanding makes Off The Cuffs unique. Divided into four sections--Eyewitnesses, Insiders, Victims & Perpetrators, and Dreamers--Off The Cuffs gives us a diversity of voices, telling stories of fear, apprehension, love, brutality, death, sorrow, joy, hope and resolve. Out of this multiplicity of voices: convicts, police, bike messengers and established poets such as Charles Simic, Martin Espada, Kevin Young and Colette Inez - emerges a dialogue showing us the infinite shades of blue that surround the profession and the profession's relationship to the society they are sworn to protect. Off The Cuffs adds an important and unheard piece to this body of work: the usually disparate voices of cops, prisoners and everyone in between engaging with one another within the pages of one book.

A former police sergeant draws on philosophy, literature, and art to reveal the profound--indeed poetic--significance of police-citizen encounters

ItÍs not every book of poetry that includes an ñOde to Body Armor.î But then, itÍs not every poet whose experience in academia includes a stint at the police academy. The poems of Sarah Cortez are tough-minded, verbally supple, and often deeply (even explicitly) erotic: You want me to come/ to you each night, drop my gun belt,/ lie along your muscled length . . . And each of these fifty lyric poems (with titles such as ñRosie Working Plain Clothes,î ñLas TÕas,î and ñAttempt to Locateî) displays CortezÍs many facets: the street smarts of a law-enforcement officer (deputy constable in HoustonÍs Harris County); the bilingual vocabulary of a proud Mexican American; the coolly analytic eye of a corporate accountant (as she once was); the linguistic dexterity of a Latin teacher (another former occupation); and the frank sensuality of a strong and spirited woman. Surveying fellow officers, friends, criminals, lovers, strangers, and family members, Sarah Cortez has learned that a bullet-proof vest may, with luck, protect the body, but keeping the heart from harm is a chancier and more mysterious affair. Long after the pages of How to Undress a Cop have been turned, her unique and distinctive voice will stir the blood and haunt the memory.

OF WHAT FUTURE ARE THESE THE WILD, EARLY DAYS? An exploration of the role that artists play in resisting authoritarianism with a sci-fi twist. In poetry, dialogue and visual art the book follows two wandering poets as they make their way from village to village, across a prison colony moon full of exiled rebels, robots, and storytellers. Part post-apocalyptic road journal, part alternate universe history of Hip Hop, and part “Letters to a Young Poet”-style toolkit for emerging poets and aspiring movement-builders, it's also a one-of-a-kind practitioners' take on poetry, power, and possibility. NOT A LOT OF REASONS TO SING is a: -post-apocalyptic road journal -alternate universe history of Hip Hop -“Letters to a Young Poet” -toolkit for emerging poets and aspiring movement-builders it's also a one-of-a-kind practitioners' take on poetry, power, and possibility.

"“Wilson’s collection is romantic yet world-weary, bereaved yet fortified―a kindred reflection of the heart in the modern world.” ―Publishers Weekly Fieldnotes on Ordinary Love is a collection whose poems approach family, politics, and romance, often through the lens of space: the vagaries of a relationship full of wonder and coldness, separation and exploration. There is the sense of the speaker as a cartographer of familiar spaces, of land he has never left or relationships that have stayed with him for years, and always with the newness of an alien or stranger. Acutely attuned to the heritage of Greco-Roman myth, Wilson writes through characters such as the Basilisk and the Minotaur, emphasizing the intense loneliness these characters experience from their uniqueness. For the racially ambiguous speaker of these poems, who is both black and not black, who has lived between the American South and the Midwest, there are no easy answers. From the fields of Kentucky to the pigeon coops of Chicago, identities and locations blur—the pastoral bleeds into the Afrofuturist, black into white and back again."