Enantiomorphosis is one of the dominant forms of experimental translation used by the Canadian avant-garde. My analysis focuses on Christian Bök, Darren Wershler, and Jeramy Dodds and considers their respective poetries in relation to mirrors (enantiomorphosis being an effect of mirroring). I demonstrate that by first considering enantiomorphosis as a modality of the mirror, and subsequently as a modality of translation that it is an essential strategy of Canadian avant-gardist practice.
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