The afterword reflects on the book’s methodology, which it calls an “anthropological poetics.” In elaborating an anthropological framework in literary studies, this afterword lingers with the difficulty of trying to understand how the structures of language shape and complicate the structures of the worlds in which words and people find themselves. The afterword thus explains how, in allowing for aesthetics (especially form and rhythm) to take on world-making, world-framing, and world-breaking force, the present book follows Gloria Anzaldúa’s emphasis that “it is vital that we occupy theorizing space, that we not allow white men and women solely to occupy it...[because by] bringing in our own approaches and methodologies, we transform that theorizing space.” This afterword highlights how the book has taken such an approach to poetic objects, striving to allow their forms to theorize on the situations in which they find themselves and, in recognizing themselves there, to which they give situational definition. It concludes with a reading of Central-American poet and visual artist Roberto Harrison’s visual and literary engagements with Kuna molas and applique techniques.
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