The ability to see the self and one’s work in communion with one’s poetic ancestors is different from merely employing allusion or reference in one’s writing. Modernists like T. S. Eliot or H.D.’s friend/lover/mentor Ezra Pound made the past new by setting themselves among the dead and interpreting their work as such, to paraphrase Eliot’s essay “Tradition and the Individual Talent.” In works like Eliot’s The Waste Land, much of this deadness is referential. H.D.
Mary Douglas reminds us that sorcery and witchcraft, which she identifies as “pollution powers” (not toxins, but powers viewed systemically as problematic because of their transgressive nature) occur “where the lines of structure, cosmic or social, are clearly defined” (136). Queerness, as a construct, is made possible by the not-queer. The bipolar spectrum of sexuality and gender — man and woman — recognized for centuries by mainstream, white hegemony has made possible an articulation of the interstices between.