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Limón (b. 1976) is a Contemporary poet; Contemporary poetry, a very loose categorization, generally includes poetry written since the early- to mid-20th century (some scholars see the span of Contemporary poetry as beginning from the Second World War). It therefore largely bears features that carry over from the preceding, Modernist literary period. These features principally include a free-verse style (meaning irregular meter and rhyme), but the poetry also tends to feature realistic settings.
Limón writes in free verse and embraces both the natural and urban, the lyric and the narrative, the short, small poem and those of long lines and literary allusions. She does not seem to ever be married to one form and opposes easy classification. She does continually employ detailed, vivid imagery in each poem and is most often autobiographical in stance. In several poems throughout her seven collections, she admires and explores the binary nature of the human experience. The title of her fifth collection, Bright Dead Things, reflects her poetry’s characteristic duality. Limón studied with two great American poets, Sharon Olds and Philip Levine, while she was at New York University as a graduate student, calling them her “mami and my papi” (See: Further Reading & Resources). In this same interview, she also told Suzannah Windsor about these poets’ contrasting natures, perhaps setting up her own artistic responses. Levine was “hard and tough and incredibly good at making [Limón] work hard,” while Olds was “kind and caring and supportive and yet, without me even realizing it, she helped me with my endings like no one else.” Olds is known for her autobiographical rawness, which is also evident in Limón’s work, while Levine’s mastery of narrative poetry is echoed by Limón’s careful dedication to characterization and setting. Limón is often grouped with her friend Natalie Diaz but also bears comparison to other Contemporary poets, like Ross Gay and Aimee Nezhukumatathil, who use nature to delineate emotion.
In her interview with Garcia for Poetry magazine, Limón explains her pride regarding her family history and Mexican American heritage, which her poetry has explored. Limón did not grow up in a Spanish speaking household, but she notes her high respect for those in the Latinx poetry community of which she considered a part. Her grandfather escaped the Mexican revolution in 1917 before relocating to California’s wine country where, after economic hardship, he raised his family. Limón has included his story in her work, as well as the stories of specific prejudice she has faced or observed. Limón said to Garcia that while she remains outside the white community, she is “a white-passing Latinx” and feels she must be true to her “experience in the world” because if “I’m not paying tribute to that and not being honest with that, then it feels like it’s almost giving into a stereotype.” Limón, above all else, is an individualist and uses that as her impetus. She believes it is important for each poet to stay true to their own voice and not just perform their identity. As she told Windsor in 2013, “I have always identified with Mexican culture, but like many of us, I am not only one thing. I’m many things. I’m Irish, and Scottish, and German too. Part lion. Part dragon. Depending on the day” (Windsor).
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By Ada Limón