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This work examines the poetry collection Junín (1930) by the Peruvian author Enrique Bustamante y Ballivián (1883–1937). While a part of the Latin American avant-garde expresses a fascination with the rise of new machines in the metropolis, this article demonstrates that Bustamante y Ballivián responds to this trend by representing machinery of a different kind – extractivist machinery – in a different type of space: the Andes. The author also engages with the indigenista avant-garde poetic proposals of his Peruvian contemporaries. Unlike them, the poet does not aim to give voice to the indigenous subject, nor does he idealize or solely link it to nature. Instead, he portrays it as 'coupled' to the mineral extraction machinery. Additionally, the poet depicts this machinery as invasive, contaminating and destructive to the landscape and its inhabitants. This work argues that Junín emerges as the first poetic representation of the ecological impacts caused by large-scale mining exploitation in the Andes. [ABSTRACT FROM AUTHOR]

This paper advocates for a reading of John Scottus Eriugena's Carmina that situates his collection of poems within the genre of devotional poetry. Although the Carmina has recently benefited from scholarship on Eriugena's theology, typologies of his poems consistently overlook the significance of their theological themes. Most instead attribute more significance to their political themes, since Charles the Bald commissioned many of Eriugena's poems for special occasions at his royal court. This paper argues that a textual analysis which compares the significance of theological and political themes in the Carmina reveals several reasons why Eriugena's poems should be read as devotional poetry. First, it explains how typologies of Eriugena's poems overlook the significance of their theological themes by overstating the significance of Charles and his royal court. Then, it offers a close reading of three poems in the Carmina to show how Eriugena uses theological themes to frame political ones. [ABSTRACT FROM AUTHOR]

The proletarian writer H. T. Tsiang worked and lived in the US under the constant threat of deportation since arriving in the country under the Johnson-Reed Act. This article examines a cache of poetry that Tsiang wrote in the Ellis Island detention center from 1940–1941 and mailed to the painter, book illustrator, and author Rockwell Kent. These poems, which are preserved among Kent's papers in the form of a toilet paper manuscript, a make-shift chapbook, and typescript sheafs, were roundly rejected by publishers in Tsiang's time. Yet they speak to his precarious immigration status and his long-term project of constituting proletarian readerships outside US publishing. Tsiang's unpublished poems, I argue, composed a counterpublic of early Chinese American writing that grew from, and responded to, the conditions of exclusion. Having been detained on both Angel Island and Ellis Island, Tsiang was willing to take the "crooked path" into US cultural memory. [ABSTRACT FROM AUTHOR]