Poetry Wars
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Colin Wells. Poetry Wars
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Poetry Wars
Series editors: Daniel K. Richter, Kathleen M. Brown, Max Cavitch, and David Waldstreicher
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Bend for to form a Subject’s Chain?20
Broadside and newspaper poetry such as this, protesting the Stamp Act as the disastrous event of 1765 or celebrating its repeal as the triumphal moment of 1766, appeared throughout the colonies, moving outward from Boston, the early epicenter of the resistance, to New York, Philadelphia, and as far south as Charleston. This sudden and widespread transformation of the carrier’s address—from mouthpiece of the British Empire to vox populi—had both immediate and long-term implications for American poetry and politics. The longer history of this subgenre of political verse is registered throughout the following chapters as a consistent form for delivering annual triumphant or satiric verdicts on events from the outbreak of the Revolution to the end of War of 1812. In the more immediate context of the Stamp Act, however, the politicization of the carrier’s address had the specific effect of reinforcing an ideology in which political liberty was inexorably linked to print culture. As explicated in particular by Michael Warner, this is an ideology in which the workings of the print public sphere were identified so fully with freedom of speech, and freedom of speech with the protection of all other liberties, that the Stamp Act’s tax on printed documents was immediately and broadly understood as an assault on freedom itself: “Print had become so central to the routines of colonial life and had come so completely to be seen within the same concepts with which the political itself was thought, that the most literate classes could successfully claim that the entire realm of the public was at stake.” Against this backdrop, many colonial printers, for whom the tax also constituted a direct economic hardship, rebranded their papers as organs of anti–Stamp Act propaganda, transforming the carrier’s address into a mode of political protest.21
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