Crowds of Feminists: The Hybrid Activist Poetics of “No Manifesto” and Jennif(f)er Tamayo’s <i>YOU DA ONE</i>
This essay examines two hybrid poetic texts that emerged from a period of feminist activism in U.S. and global poetry communities from 2014 to 2017: the collaboratively, anonymously authored “No Manifesto” (2015) and the radically revised second edition of the book of poetry and visual art <i>...
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| Format: | Article |
| Language: | English |
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MDPI AG
2025-07-01
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| Series: | Humanities |
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| Online Access: | https://www.mdpi.com/2076-0787/14/7/153 |
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| Summary: | This essay examines two hybrid poetic texts that emerged from a period of feminist activism in U.S. and global poetry communities from 2014 to 2017: the collaboratively, anonymously authored “No Manifesto” (2015) and the radically revised second edition of the book of poetry and visual art <i>YOU DA ONE</i> by Jennif(f)er Tamayo. “No Manifesto” and <i>YOU DA ONE</i> embrace the hybrid tactics of collectivity, incongruity, and nonresolution as ways of protesting sexism and sexual violence in poetry communities. Synthesizing theories of hybridity from poetry criticism as well as immigrant and borderlands studies, the essay defines hybridity as a literary representation of cultural positions forcefully imposed upon subjects. Born out of the domination of sexual and state violence, hybridity marks the wound that remakes the subject, who develops strategies for resistance. By refusing to play by the rules of poetic or social discourse—the logics of domination that would have them be singular, cohesive, and compliant—Tamayo and the authors of “No Manifesto” insist on alternative ways of performing activism, composing literature, and entering the public sphere. These socially engaged, hybrid poetic texts demonstrate the power of the collective to disrupt the social and literary status quo. |
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| ISSN: | 2076-0787 |