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The article examines the use of song-poetry as a vital element in the labor movement in the period 1865-1895. Karl Reuber is not a name scholars are likely to recall. Reuber earned his livelihood polishing furniture and pianos in Pittsburgh in the decades surrounding the Civil War. Like most working-class Americans, he did not leave behind personal papers or memoirs. He was simply one of the millions of workers who owed their survival to the nation's burgeoning industrial base. However, Reuber also joined those who repeatedly rose in protest against the abuses of the rising capitalist elite from 1865 to 1895 and who sought to check capitalist domination by joining fellow workers in a movement for collective redress. Worker gatherings featured song-poetry as a regular part of their agenda, while labor "bards" engendered considerable followings with skills of composition and declamation. The majority of these bards emerged from the ranks of the nation's burgeoning workforce, iron molders, coal miners, coopers, machinists, printers, shoemakers, bakers, railroad brakemen and engineers. This lore and song certainly deserves study in its own right. However, the greatest value of song-poetry may derive from its examination as cultural artifacts and historical documents.

Rhetoric and poetics have a long historical relationship; however, there is a dearth of literature in contemporary rhetorical studies that analyzes poems as forms of democratic dissent. This article begins with an assessment of John F. Kennedy’s eulogy of Robert Frost, followed with an analysis of Amiri Baraka’s “Black Art,” a poem that both supports and challenges Kennedy’s defense of poetry. Ultimately, this paper makes an argument for why critics might pay closer attention to poetry as both a medium for expressing dissenting messages and as an example of how language play itself can function as valuable democratic dissent. [ABSTRACT FROM PUBLISHER]

The article explores the engagement of Australian poet A. D. Hope with Russian literature and argues for its centrality in Hope's thinking in the last three decades of his poetry. The author discusses Hope's essays, epistolary correspondences, and the notebooks archived at the National Library of Australia to trace Hope's familiarity with the Russian language, his translation projects, and the Russian essays Hope includes in his book "The New Cratylus: Notes on the Craft of Poetry."

The article examines the communist activity of poet George Oppen from 1934 to 1958. During this period, Oppen did not produce a single line of poetry due to its involvement in the Communist Party of the United States. He has stressed that his membership to the party, together with his wife, was a pragmatic choice. It is considered that despite Oppen's commitment to the party, his political devotion was significant because his poetry is in part a criticism of the authoritative.