From Deleuze and Guattari’s essay on “Minor Literature” to Alfred Arteaga’s work on Chicanx poetics, theorists have studied the relationship between power and language, describing how creative writers find inventive ways to interrogate monolingual and nationalist logics.[1] Often, personal as well as historical conditions shape an author’s linguistic choices. My interest here lies in how poets use citation and translation as craft techniques in forging poetic languages that challenge powerful configurations and histories.
State-of-the-Nation poems (5)
Kendrick Smithyman, ‘If I Stepped Outside, in May ’93’ (2002)
My good friend and fellow-poet David Howard writes in to question my use of the epithet “unquestioned Top Bard” for Bill Manhire in my previous post. He also comments that “we weren't 'all' lost in the postmodern forest of the 1980s” …
I did wonder (as I said in my reply to him) if anyone would react to my canonisation of Manhire: