Abstract:
Andrew Hudgins makes frequent use of both sacred and profane imagery and language. By inverting the sacred and profane, Hudgins renders traditional Protestant Christianity into a
language palatable to the Postmodern aesthetic. A close examination of three of Hudgins' poems, "Praying Drunk,"
"Piss Christ," and "When the Weak Lamb Dies" demonstrates
Hudgins frequent use of inversion and Christian metaphor. A concluding chapter links Hudgins' style of inversion to the
Postmodern aesthetic through a brief examination of
parallels between Hudgins' work and criticism by Jacques
Derrida and Charles Altieri.
