The Near Transitive Properties of the Political and Poetical: Erasure — Solmaz Sharif

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The first time I confronted erasure as an aesthetic tactic I was horrified. I don’t remember exactly when or what it was. I know I was in the United States. I know it was an erasure undertaken by a poet of the United States. I know it was after the invasions of Iraq and Afghanistan, after “extraordinary rendition” and disappeared men flown to secret sites in Somalia, certainly after attempted annihilation indigenous languages and peoples, after the enforced illiteracy of black slaves, certainly after Deir Yassin and the establishment, too, of this settler colonial nation. I know I thought of erasure as what a state does.

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The Near Transitive Properties of the Political and Poetical: Erasure — Solmaz Sharif

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