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40 Simpozij OBDOBJA the everyday« (Perat 2014: 5, emphasis added). And what are such plaudits if not celebrations of Perat’s fundamental intractability, of her refusal to be subordinated to and diminished by the constraints of preformulated ontologies? In other words, such praise for her disobedience is as accurate as it is deserved. Perat is a poet sui generis, brilliantly defying Eurocentric ontological norms to great effect in her best poetry. A good example of this comes in her poem, And I Make Art (Perat 2014: 7-9). It exempliifes her aiffrmative, augmentative decolonial poetics of reality. She artfully enacts it via her juxtaposition of multiple, archetypical ontological possibilities across the poem’s seven stanzas of free verse. Most of those ontological archetypes are European, though not all of them are, and in their simultaneity, Perat stakes her decolonial claim. That is, the poem’s comparative ontological relfection introduces ontological possibilities beyond European paradigms, thereby carrying the reader beyond the limits of European modes of relfection and communication. In this manner, she cultivates decolonial imagination in a decidedly European poetry. And what exquisitely artful poetry it is. For example, she summons all of this decolonial possibility in a mere iffty-three lines of free verse, demonstrating her expert control and precision as poet. For within that relatively limited discursive space, she introduces and juxtaposes a diversity of ontological possibilities. Each comes ifguratively, in the form of an archetypal person, who is identiifed in relation to her conceptions of mortality. The ensuing parade of archetypes therefore includes, for example, »[s]ad people [who] surrender themselves [to death] / just like medieval towns are surrendered / After long sieges«, »beautiful people who can afford themselves / arrogance and rage [against dying] without / losing anything,«»truth-loving and people who are capable of clarity [about death] / without constantly reminding themselves / that nothing imaginary has been beautiful« (Perat 2014: 7). It even includes the ifrst- person speaker, who coheres with none of those existential paradigms. Instead, she must create new modes of relfecting and communicating such that she exists beyond the paradigmatically European reactionaries (i.e. medieval towns), arbiters of beauty, or arbiters of truth. In other words, decolonial imagination is summoned in the poem via its evocation of ontological alternatives beyond European ontological possibilities and their limits. Moreover, that speaker in herself represents decolonial imagination. She is para- doxi cally a singular multiplicity of ontological possibilities that exist within and beyond European paradigms. Accordingly, she describes herself variously across the poem as »abandoned« by others (Perat 2014: 7), »separated« from others (Perat 2014: 9), and inextricably interconnected with others. She is of and apart from the European conditions of her birth, and this is signalled by that internal antinomy of ontological possibilities. Its breadth implies supra-European existential possibility, thereby adding to the poem’s cultivation of decolonial imagination. Importantly, her embodiment of decolonial imagination does not stem from the evocation of plurality in itself. Such an evocation might reasonably be theorized as a mere iteration of European postmodern literary theory, whereby the supposed unity of the speaker, 157
