Xenoglossia is concerned with breaking apart and reworking the English language—in order to speak, and let speak, the waters around us. Through its investigation of the plural and severed (via routes of colonization and migration) lyric-I, its insistence on the language and voice of water, and its explorations of mining, translating, and traversing tongues, the book asks (after the poet Myung Mi Kim) and attempts to answer the question “What is English now?” How do we say what we must in a language mired with histories of colonialism? How do we pull forth the assertions, declarations, pleas, and moments from behind and between its crevices?