Although the doodle is treated as if it were a natural, spontaneous and universal phenomenon, it is in fact an invention, a concept that emerged at a certain point and rapidly became extremely popular.

The American poet Clayton Eshleman’s work, spanning forty-five years and including major works of translation (Cesaire, Vallejo) as well as editing, is much less well-known than it deserves to be. Rather than try to give some kind of an overview of his substantial achievement, which makes him in my opinion one of the most important living poets in the English-speaking world, I have decided to focus on Eshleman’s writing about painting, not only because of its unusual range and depth, but also in the hope that this will encourage some readers to explore his work further.

In its broadest sense, Outsider Art encompasses extraordinary artwork that is created by people with little or no training. The term has been current since Roger Cardinal coined it in 1972, and its prototype was the Art Brut (‘raw’ or unrefined art) created by people on the edge of mainstream society that was aggressively promoted by Jean Dubuffet just after the Second World War.

In the image of authentic creativity found in Art Brut, as promoted by Jean Dubuffet, genuinely creative art is motivated by insubordination, and by a maverick self-assertion that is profoundly anti-social. Institutions do not foster true creativity, even where they are supposed to (schools, colleges, academies).

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