Uxudo is sensitive to the contingency and permeability of borders yet it does not abandon the particularism of sovereignty, the universalism of global culture, or the productive tension between the two. Instead its intent is connective, is to encourage the cross-cultural communication desired in cosmopolitanism without drowning out the culturally specific voices and their separatist forms of survival. It's in the stop-start structure which routes out the languages framed and in use, and the various ways in which they intersect, through mixed speech, borrowings and compounds, and neologistic sounding games, that the mechanics and polemics of such a textual environment find themselves defined. The reader, pressed hard between words written in language they don't know, words written in language they know, words written in language they thought they knew. . . . The intricacies of such disruptive, uprooted dealings inevitably add humourous correspondences to the work.
Nothing equals another thing equals another equals another.
In cross-lingual pollination, the linguistic sign seems as differential as any saussurean stylistics might wish for it. And the sonic games, cross-lingual puns, private riddles and neological turns which, rather gleefully, punctuate most of the plurilingual work I have come across, would seem to push this point. . . . This framed echo-chamber does not illustrate nor translate. Nor does it erase its elements into one, seamless, cohesive readerliness. It enriches its gymnastics of clues and games of tones with clashes between personal grammars and social usage.