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The vision of Maximus the Confessor, a 7th‐century monk‐theologian, is an unexpected resource, the chapter argues, for reconceiving the very task of theology given its tyrannical performance inside of whiteness. At the heart of Maximus's Christology is an exegetical practice that reads scripture against rather than with the grain of the social order, and an ethical practice that refuses self‐love or the logic of possession and ownership, which is central to the colonialist orientation of modernity's racial imagination of whiteness. This orientation of a theological ethics of dispossession (to speak in Maximian terms) is what makes Israel a nonracial people (to speak in contemporary terms). Understanding the person and work of Jesus as triangulated between Abraham, Moses, and the Prophets, Maximus's Christology roots itself in the covenantal‐nonracial story of Jewish existence. Maximus's Christological argument, which is an anticolonialist argument, therefore fittingly culminates this book's argument.

The Glaswegian poet Edwin Morgan coined the term ‘off-concrete’ to describe one of his own concrete poems. In this chapter, the term is used to characterise his overall approach to the style, which expressed both a keen enthusiasm for the classical concrete poetry of the 1950s-60s and a pronounced scepticism regarding its formal and ideological limits. One of many styles with which Morgan experimented during the 1950s-70s – also including beat and sci-fi poetry – concrete poetry was a means both of expressing his opposition to the parochialism of Scottish literary modernist culture and of redefining that culture as internationalist and technologically oriented. At the same time, Morgan’s incorporation of narrative voices and specific thematic scenarios into the concrete poem – ranging from outer space to the animal kingdom, and periodically expressing Scottish-nationalist and anti-colonialist politics – reflects his desire to extend and subvert the grammars of concrete poetry. This dialectical movement propelled his concrete practice forwards from 1962 until around the close of the 1960s, by which time his engagement with the style was waning. However, by the 1970s, a new variant of concrete poetry, more responsive to sound poetry and new Scottish poetry in dialect, had begun to animate Morgan’s practice.

This chapter examines the works and career of Ivan Kulyk, a Ukrainian poet of Jewish descent. It explains that Kulyk was one of the leaders of the Ukrainian cultural revival who sought to synthesize his Ukrainian identity with his Marxist convictions and highlights his failure to remain loyal to Ukrainian Marxism. The chapter suggests that the fall of Kulyk marked the renewed efforts of the emerging Soviet empire to suppress the anticolonialist drive of Ukraine.

This chapter sums up the key findings of this study on Jewish contributions to Ukrainian culture. It explains that the five Ukrainian poets of Jewish descent in this study—Hryts'ko Kernerenko, Ivan Kulyk, RaisaTroianker, Leonid Pervomais'kyi, and Moisei Fishbein—considered the Ukrainian language not only a medium of literary discourse but also an object of anticolonialist reflection. The chapter discusses how they are connected methodologically, thematically, and in terms of cultural genealogy.