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.
David-Baptiste Chirot
'Hidden in plain sight': found visual/sound poetries of feeling eyes and seeing hands
[Himself on the cusp between “outside” and “inside” poetry and art, Chirot, whose work, both verbal and visual, is a great, too-often hidden resource, wrote from an authoritative if barely visible position in contemporary letters. The depth and breadth of his total oeuvre — the rubbings and collages foremost — is outstanding.