This chapter outlines Erez Biton's poetics not as an endeavour to proclaim an alternative, empowered marginal identity, but rather as a struggle to be accepted as part of the mainstream, to have a sense of belonging, and only from this context to destabilise its foundations. Biton's poetry is a special manifestation of the aesthetics that comprise life in a multicultural environment. It proclaims identity as an amalgam of style, performance and gesture, which suggest one's hierarchical position towards cultural capital, manner of speech, clothing style, music preferences and so on. Biton is actually decomposing centre and universalism by way of the very particular and the marginal. By appropriating Bach he also changes the features of this well-established father. In Hirschfeld's reading of that paradigm, the heart in Hebrew poetry is first a means or a motive by which authors signify their identity.