and deliberate, and its intercultural register betrays this admixture while
doing violence to both tradition and modernity. In sum, this violence stands
for the very act of experimentation with traditional typologies and genres, for
urgency on the one hand and exposure to other practices and pronouncements
on tradition and modernity on the other have set the scene for new poetic
modes and engagements. The act of revoking the normative and dissecting
the modern impulse, as I will argue in the concluding chapter, sets al-Baymtl,
and perhaps others, within a volatile cultural intersection. This edge makes
poetry more exciting, as it sustains life in death while not losing sight of the
predicament of the human here and now.
THE EDGE OF RECOGNITION AND REJECTION