McRuer’s book, for instance, in many ways mirrors and departs from Beauty is a Verb: like the anthology, it opens with a historical excavation of policy change and arts-based responses, even overlapping with key figures, such as Petra Kuppers, who appear in Beauty is a Verb. However, it departs from an Americanist context of poetry, opening instead with a European-based history of neoliberal propaganda that he contrasts with emergent arts forms from crip activists.
