This dissertation centers on representations of visionary sight in hemispheric American poetry from the 1970s and 1980s. I argue that the reactivation of the historical trope of the poet as a visionary seer emerges in dialogue with the dislocating shifts in economics, politics, and social life known as the neoliberal turn. Critical studies of neoliberalism and its relationship to cultural expression and processes of subject formation have largely centered on works of fiction and films. I argue that the elision of poetry from such critical projects has resulted in an incomplete understanding of life under neoliberalism. Most pivotally, the image of the neoliberal subject as one who has internalized the process of market rationalization and extended it to every facet of their personal life stands at odds with the archive of mystical and metaphysical thinking that I unearth in my research, an archive not incidentally found in poetic form. Over the dissertation’s three chapters, I read book-length poems by Bajan historian Kamau Brathwaite, U.S. poet Frank Stanford, and Chilean artist Raúl Zurita, situating them in their literary historical and political contexts. I demonstrate how each poet turned to the trope of the visionary seer to make sense of and mediate the effects of neoliberalism, assuaging new anxieties about the role of the poet in a changing society and charting out the real vectors of historical causality bearing on a shifting present. In doing so, I also demonstrate how neoliberalism was a form of neo-imperialism rooted in a crisis of capital accumulation in the imperial core, and how it took root in rural spaces across the hemisphere, affecting earlier models of cultural production premised on a city/country binary. By turning to the trope of the visionary seer, the poets I study do more than simply register their opposition to neoliberalism’s market epistemologies—they also generate new poetic models, ones responsive to a shifting social base.