From Spanglish to Glossolalia: Edwin Torres’s Nuyo-Futurist Utopia

  • Urayoán Noel


In his “What is Literature? From Material Text to Cultural Poetics,” Barrett Watten contrasts contemporary North American Language Poetry’s insistence on “the immanence, particularity, and even obduracy of language” with French Surrealism’s quest for a transparent internationalism.1 For Watten, Language Poetry has done well to avoid the traps of Surrealism, for example, “the way Surrealism aligned the transparency of French with the transcendent horizon of desire” (348).


Transparent Internationalism Identity Gesture Close Listening Representational Gesture Language Poetry 
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    My Edwards-esque/Gherovician take on diaspora as founded on décalage and as the performance of a symptom is a very preliminary attempt to postulate a working critical language for the reading of diaspora performance, beyond Bhabha’s liberatory textualism. I first made many of these same points in an essay on New York Puerto Rican popular music: see Urayoán Noel, “In the Decimated City: Symptom, Translation, and the Performance of a New York Jíbaro from Ladí to Luciano to Lavoe,” Centro: Journal of the Center for Puerto Rican Studies 19, no. 2 (2007): 121–39. My dissertation—on the intersection of experimentalism, performance, and diaspora politics in Nuyorican poetry from the 1960s to the present—expands upon the preliminary observations contained in these two articles.Google Scholar
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© Carrie Noland and Barrett Watten 2009

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  • Urayoán Noel

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