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.
First reading of Lorine Niedecker's 'Popcorn-can cover' (4)
Xavier Kalck
The bigger picture obscures the actual one. I have to wonder, am I looking at a product of Imagism? This poem seems concrete, simple and based on direct observation. Is it Objectivist? There is sense of clarity countered by ellipsis as sound abstracts the image from its context, so yes as well. What about Surrealism? A trivial domestic object is endowed with uncanny — pun intended — (possibly sexual) significance. associated with distinct specularity (it seems I am looking at an interiorized interior). The list could go on. Does the sense of rural poverty implied in the makeshift device make it a rural poem?
Popcorn-can cover
screwed to the wall
over a hole
so the cold
can’t mouse in
— Lorine Niedecker