
I pressed “performance poetry” into YouTube’s search box
kept company by a simplified magnifying glass on the right (in its own light-grey box): a type of
lollipop.
It transitioned to dark grey as I dragged the cursor over it.
When I licked the lolli, it appeared to move downwards and up again
like a chest or a button or a chest—
Boxed images with words on their sides flashed open.
Sarah Kay’s “The Type” (first on the list)
under the “Ad”
that I dismissed.
Clicking the image makes it bloom
and I hear her poem,
a poem where I don’t know if she’s conversing with the audience or reading a poem:
the best type of poem.
Wanting more, I click the box on the right,
a poem of Kay’s called “Montalk.”
Being from Long Island, my mind perks up: listening dog ears.
Sand gets into the folds of my skin. I listen.
YouTube then lead me to Rudy Francisco’s poem “Complainers,”
a poem that made me say woooo out loud like I was there.
a poem that told me to enjoy my half-full glass of water,
and it was refreshingly hydrating.
Their poems made me realize I was a shitty poet.
Their poems structured me as bones do to bodies.
Their poems are now my poems.
Their poems were never theirs;
And this poem was never mine.
I
In Opposition of Poetic Tradition: A Poet’s Guide to Transcending Eurocentricity
Bianca Alyssa Pérez shows us in this essay how poets Laurie Ann Guerrero, Audre Lorde, and Gris Muñoz use free verse, personal experience, and linguistic subversion to challenge and transcend Eurocentric poetic traditions.



