This article explores how contemporary US black poetics evidences the entanglement of the history of lyric with the history of race. Through readings of the work of Claudia Rankine, Evie Shockley, Tyehimba Jess and Terrance Hayes, I make the case that this poetics situates American lyric within the violence of Reconstruction to imagine how Black Reconstruction may be enacted in cultural form. My contention is that this poetics makes lyric “unfit for history” and thus exposes the racialization processes embedded in poetry's modern life forms. I show how this poetics does not simply recuperate lyric subjectivity but presents a different model of subjectivity altogether, one that is rooted in a fugitive idea of blackness. I locate this lyric from the publication of Shockley'sthe new black(2011), as a reckoning with the failures of representation that were pronounced in the colour-blind politics of the Obama era and chart it to Hayes's engagement with Trumpian politics in his sonnet sequenceAmerican Sonnets for My Past and Future Assassin(2018). I argue that this contemporary poetics, which makes its argument through a destabilization of genre, unravels the racialization processes embedded in the form of reading poetry that Virginia Jackson refers to as “lyricization.”

中文翻译：

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不适合历史：种族、赔偿和美国歌词的重建

本文探讨当代美国黑人诗学如何证明抒情史与种族史的纠缠。通过阅读 Claudia Rankine、Evie Shockley、Tyehimba Jess 和 Terrance Hayes 的作品，我证明这种诗学将美国抒情诗置于重建的暴力之中，以想象黑人重建如何以文化形式进行。我的论点是，这种诗学使抒情“不适合历史”，从而暴露了嵌入诗歌现代生活形式的种族化过程。我展示了这种诗学如何不只是恢复抒情主体性，而是呈现出一种完全不同的主体性模型，一种植根于黑暗的逃亡观念。我从 Shockley 的出版物中找到这首歌词新的黑色（2011），作为对奥巴马时代色盲政治中明显的代表性失败的清算，并将其与海耶斯在他的十四行诗序列中与特朗普政治的接触联系起来我的过去和未来刺客的美国十四行诗（2018 年）。我认为，这种通过破坏体裁来论证的当代诗学揭示了嵌入在弗吉尼亚杰克逊称之为“抒情化”的诗歌阅读形式中的种族化过程。