I'm querying about the possibility of writing an article for a future issue in [magazine] looking at

the current rise in anglophone poets' interest in the baroque, specifically reading the queer and
feminist baroques in recent work by Rob Halpern and Lisa Robertson in conversation with the
queer 'Neobarroco' (Perlongher) of 20th century Latin American writers such as Severo Sarduy,
Pedro Lemebel and Néstor Perlongher.

I want to tease out some of the politics that underlie these aesthetic affinities, especially through
the lens of Kevin Floyd and Christopher Chitty's expansive Marxist accounts of literary queer
stylistics and the role that history plays in queer writing—with the historical baroque of the 17th
century standing as a privileged ground for these engagements, its high point coinciding with
the emergent legal figure of the homosexual and a cosmopolitan, assimilative 'official' style that
sutured the distance between imperial cores and their peripheries. Other theoretical touching
points might include Gilles Deleuze's The Fold: Leibniz and the Baroque, theories of camp and
excess and elements of visual culture.