{"id":11462,"date":"2021-12-01T08:49:32","date_gmt":"2021-12-01T13:49:32","guid":{"rendered":"https:\/\/www.bu.edu\/afam\/?p=11462"},"modified":"2022-01-15T08:52:16","modified_gmt":"2022-01-15T13:52:16","slug":"51-4-going-electric","status":"publish","type":"post","link":"https:\/\/www.bu.edu\/afam\/2021\/12\/01\/51-4-going-electric\/","title":{"rendered":"51.4, Going Electric"},"content":{"rendered":"
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Cover art by Diedrick Brackens<\/figcaption><\/figure>\n

51.4, Going Electric<\/h1>\n

From the\u00a0<\/span>introduction<\/a>, \u201cGoing Electric\u201d by Paul J. Edwards:<\/p>\n

\u201cDylan is not alone in producing speculative knowledge of Black trauma within circuits of white American poetics. Ezra Pound provided the only first-person account of the death of Louis Till, Emmett Till\u2019s father. Executed by the US Army at a detention center near Pisa, Louis\u2019 only chronicler was his fellow prisoner, Pound, who recorded only fleeting mentions of the man in The Pisan Cantos, noting Till\u2019s nickname by his fellow prisoners and a slightly longer passage that functions as a eulogistic note. Again, this moment is marked by its apparent ambiguity. It only becomes legible to scholars after Roy Bryant and J.W. Milam murdered Emmett Till a decade later. Maddeningly, Louis\u2019 death was kept from his family until it was used to smear him and his dead son, suggesting that the Tills shared a genetic predisposition\u2014like all Black men\u2014to assault white women. Such a sardonic line retrospectively seems oddly Dylanesque with its inclusion of Louis\u2019 death with a sense of a feast being prepared. In either case, in Pound and Dylan, the Black body can only be speculated on, never quite in focus but instead more citational than critically engaged with. Although Pound and Dylan do not feature in this issue, each of our contributors counter the obscurations of Dylan and Pound\u2019s white poetics.\u201d<\/p>\n

Issue also includes the following:<\/p>\n