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.
Clipping the Poetry Series: Selections from the Sir George Williams Poetry Series, 1965–1974
Jason Camlot, Deanna Fong, and Katherine McLeod
The Sir George Williams University Poetry Reading Series ran from 1965 to 1974 in Montreal at what is now Concordia University, featuring live performances by prominent North American poets, including Beat poets, Black Mountain poets, and members of the western Canadian poetry collective TISH. Curated and organized primarily by professors in the English department, the series hosted over sixty poets during its eight-year run, bringing local writers into contact with regional, national, and international contemporaries.