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My dissertation proposes a new theory, interpoetics, to explain the common traits of four poets who have published works of preeminent quality and quantity during the last two decades—Taiwanese Lo Fu, Jewish American Jorie Graham, Asian American Cathy Song, and Latino American Martín Espada. Using these poets as examples, I argue that the greatness of these poets resides in their crossing the boundaries between poetry and self, between poetry and the body, and between poetry and politics. The theoretical framework of interpoetics is broader and more inclusive than Harold Bloom’s influence theory in that interpoetics expounds poetic creation from an intercultural and interdisciplinary perspective, taking into account both the synchronous (connecting terrains) axis and the diachronic (responding to a tradition) axis of a creative process, each chapter of this dissertation challenges and revises extant philosophies or theories. Chapter One borrows Zhuangzi’s notions and Chan to resolve the content-form dualistic dilemma in theories of transcendence. In Chapter Two, I argue that the evolution of Cathy Song’s poetry presents one of the expressions of inbodied girlism critical to the third wave American feminism’s demarcation from the second wave. Inbodied girlism is a phrase I coined to name my theory, which seeks to connect theories of the body and girl studies. Chapter Three explains Martín Espada’s political poetry, in his words, as “an act of political imagination” written by the poet as a prophet and political “visionary” in response to poetry’s waning influence on public life (Zapata’s 11). In this chapter, I employ my poetics and globalization theories to examine the permeability between Espada’s poetry and politics. Through these interdisciplinary, interlinguistic, and intercultural reflections, this dissertation claims that the poetry of Lo Fu, Graham, Song, and Espada has encoded social and cultural concerns that challenge existing boundaries.