(Transborder Noise), POSTFACE, & Further Reading
Moure’s work and its complexities and echoes can be read in conversation with the work of other major figures in North American poetry, poetics, and translation theory in the late twentieth and early twenty-first centuries. Incorporating philosophical quotations in the poem itself, and drawing from the major theoretical debates regarding language and subjectivity, Moure’s work refuses easy distinctions between poetry and poetics, philosophical writing and poetic writing. I often read Moure’s work as queer theory; her explicit engagement with the likes of Monique Wittig, Judith Butler, Donna Haraway, and other queer theorists leads to Moure’s prescient work on queer affect theory, and the “queer art of failure.” O Cidadán (2002) was published before Sarah Ahmed’s Queer Phenomenology (2006) or Judith Halberstam’s The Queer Art of Failure (2011), yet engages with these topics in a rigorous and wide-ranging way. Moure’s work can also be read in conversation with the work of poets such as Phyllis Webb, Daphne Marlatt, Nicole Brossard, Lisa Robertson, Fred Wah, Roy Miki, M. NourbeSe Philip, Caroline Bergvall, Harryette Mullen, Bhanu Khapil, Rachel Blau Duplessis, Claudia Rankine, C.D. Wright, Andrés Ajens, Chus Pato, Oana Avasilichioaei, and Myung Mi Kim all of whom grapple with language and languages, and their relation to political and economic structures and to identity formation.
The final section of Planetary Noise is curated by Moure and offers the reader a window into her translations of other poets’ work. These poems are not inserted in the other sections with her own work, as is often done in North American practice, as for Moure, translation is an opening of poetic culture in English to the work of others, not an absorption of it. Moure discusses her approach to translation in her Postface. A reader may also wish to consult the series of essays on translation that Moure published in Jacket2 between 2012 and 2014—details are in the “Further Reading” list at the back of this volume, which includes a selected list of her own essays as well as essays on her work by others.
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