To the degree that poetry speaks to an aesthetics that disrupts the spatial and the temporal, I do not claim that the lyrical contexts in this book-the voices of young people and my theoretical journeys-are all necessarily politicallybased instigators of change. What they have is the capacity to join as part of an assemblage that can potentially disrupt hegemonic and dominant sensibilities through dislocation and surprise. Poetry in and of itself does not foment change, but it may create an aesthetic fault-line that allows new ways of seeing, thinking and doing. As a progenitor of change, aesthetics in this sense are about what young people see, what they hear, what they know and what they do, and how they disrupt our seemingly comfortable and stable mappings of the world. Children’s play is part of this disruption if it is seen as a space of becoming, moving beyond a mimetic act of copying to a more revolutionary act of inspiration and creativity where received meanings and relations are refused and consequently reworked. There is a radical aesthetics to this that is not just about creating landscapes of poetry, art and beauty, but about instigating power and disrupting time and space (Rancière 2005: 13).