“For me, cultural memoir is a mutating definition. I first began to think in that way when I was working with the boundaries between criticism – literary, cultural, or whatever – which I had done for so many years, and memoir. I realised that I needed, in some way, to merge and to keep those two forms in dialogue, interrogating – as we like to say – each other. So, I began to think of cultural memoir. Initially I was just working obviously with non-fiction but, as you can see, fiction and theatre make their way in here, too.”

Academic institutions are now the biggest steward of poets, who teach everything from freshmen composition courses to graduate workshops. While the financial viability of this arrangement for writers seems to be waning, as universities and colleges find it easier and cheaper to exploit the labor of academics, it is still the uncomfortable status quo.

In 1980, Henry Kissinger (the former US secretary of state and a non-native English speaker, originally from Germany) told Arianna Huffington (the Greek immigrant and entrepreneur/writer who would eventually start The Huffington Post) not to worry about [her] accent, ‘because you can never, in American public life, underestimate the advantages of complete and total incomprehensibility’.

In the early 19th century, the young George Moses Horton used to create impromptu poems for students at the University of North Carolina. “He also began publishing more serious poems, like ‘On Liberty and Slavery,’ in newspapers, and in 1829 became the first African-American in the South to publish a book. His efforts to gain freedom through his writing failed. But he was able to buy his time from his owner. … And now, from the archives, comes a previously unknown essay by Horton, which sheds oblique but suggestive light on his possible role in campus controversies over race, power and free speech that sound strikingly similar to those raging today.”