Abstract
This article examines Margaret Christakos' deployment of procedural and experimental poetics in Wipe Under A Love, Excessive Love Prostheses and What Stirs. Specifically, it considers how Christakos uses innovative poetic techniques to inscribe affective and material dimensions of maternal and sexual subjectivities and challenge conventional representations of motherhood. Through radical experimentations that shuttle the reader back and forth from conventionally readable lyric passages to highly fragmented, disjunctive and conventionally unreadable passages, Christakos develops a complex procedural poetics integral to her project of seeking poetic forms and vocabularies that reflect the affective extremes of maternal subjectivity and bodily materiality. The logic of her poems often lies not in the meaning of words but in their arrangements, combination and recombination, in repetition, pattern and procedure.
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