Every Child Is Born a Poet: the Puerto Rican Narrative within American Children’s Culture
Bibliographic record
Abstract
Piri Thomas, the self-proclaimed Nuyorican “poet laureate of El Barrio,” once said that “every child is born a poet and every poet is the child” (qtd. in McGill 174). In the context of children’s studies, Thomas’ line resounds with a reverence for childhood similar to Romantic poets such as William Wordsworth and Golden Age children’s authors such as J.M. Barrie or Lewis Carroll. However, Thomas’ statement, “every child is born a poet” hails, not from the Lake District, but from the “mean streets” of New York City’s tenements and slums which, for many children, and for some of the Puerto Rican authors/artists presented in this study, is the inspiration for another kind of wonderland. For the greater Puerto Rican community, including Stateside and Island, children’s literature and culture has served as a cultural and national bridge, uniting both Island and stateside communities; it also functioned as an entrance into United States national discourse and an outlet for resistance against U.S. colonialism. Island and U.S. writers and artists, such as Pura Belpré, Nicholasa Mohr, Sonia Manzano, and Judith Ortiz-Cofer, have used children literature and culture as a repository for historical memory, as a foundation for a cultural and literary legacy, as a plea for U.S. identity, and as a way of positing new Englishes. Children’s literature also seems like the only literature where Island and U.S. writers have been placed within the same tradition. Examining the Puerto Rican “narrative” within U.S. children’s culture helps scholars reconsider the child’s role, agency, and influence within society and showcases the value of children’s culture as an intellectual and creative space for constructing collective ideas of nationhood, language, and culture by both mainstream and marginalized groups. My study identifies three childhood paradigms which are helpful for studying minority and/or postcolonial groups (the displaced child, the Diaspora child, and the between child). In addition, my study furthers the importance of children’s culture when studying national and ethnic literatures.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.013 | 0.008 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".