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Critical framing of UK poetry often ignores the pressures of racism or xenophobia (even when the work at hand responds to it), the shaping of a reader’s perceptions of the poet and her text as one and of the same and from where this cultural construction emerges, as well as the poet’s own determination of themselves as a subject. It is my intention here to interrogate the readerly gesture, its lyric premise of expression and authenticity, in order to reproach national canons and traditions that privilege the well-crafted lyric poem and its supposed universality. Mobilizing a decolonized reading of the lyric – one that dismantles formal features and a reader’s expectations of an expressive and authentic voice – I will offer finally two examples from my own experience teaching the works of Sarah Howe and Bhanu Kapil.
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