The Party, the Protest : Kay Gabriel and the Nightboat School of Poets, by Anahid Nersessian (Bookforum)
“Gabriel’s new book, Perverts, exemplifies the new poetry’s distinguishing features without being reducible to a narrow patch of typicals. It is queer and leftist, urbane, elegant but bawdy, erudite but steeped in popular culture, and passionately invested in forms of social life that feel distinctly contemporary—the party, the protest—but whose real history is ancient, even primordial.”
where, with a resonant clarity,
we fathom fortitude … steady
a place marked with an impulse
found and held within
the fold … honey
green … the color
of my quotidian space
Now, as then, the grace
Of heaven seems holding earth in its embrace.
10. WE WANT LAND, BREAD, HOUSING, EDUCATION, CLOTHING, JUSTICE, PEACE AND PEOPLE’S COMMUNITY CONTROL MODERN TECHNOLOGY.
a feeling he could not name but was disquieted by—longing? (Bel Canto, Ann Patchett)
Lutz Bacher. (… we don’t know the California-born artist’s real name, nor where her public-facing persona came from, but we do know this lifelong game of hide-and-seek was deliberate, an act of authorial resistance that framed her 50-year oeuvre)
Accordingly, the Court finds that the Constitution of these United States trumps this administration’s detention of petitioner Adrian Conejo Arias and his minor son, L.C.R. The Great Writ and release from detention are GRANTED pursuant to the attached Judgment.
Judge Biery, a federal judge in Texas’ Western District, granted their petition for a writ of habeas corpus. NYTimes annotates.
… But still
I buy a pack at Kingston airport mall—
jade confetti in a see-through sack.
That night I stew the leaves to make a tea—
to see her there, to plant her here with me.
Guinea Hen Weed, Hannah lowe
I.
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which heaven to gaudy day denies.
II.
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling place.
III.
And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
She Walks in Beauty, George Gordon Byron
“Rosalyn Deutsche has argued that the public sphere remains democratic
only insofar as its naturalized exclusions are taken into account and made open to
contestation: “Conflict, division, and instability, then, do not ruin the democratic
public sphere; they are conditions of its existence.” Deutsche takes her lead from
Ernesto Laclau and Chantal Mouffe’s Hegemony and Socialist Strategy: Towards a
Radical Democratic Politics. Published in 1985, Laclau and Mouffe’s Hegemony is one
of the first books to reconsider Leftist political theory through the lens of post-
structuralism, following what the authors perceived to be an impasse of Marxist
theorization in the 1970s. Their text is a rereading of Marx through Gramsci’s the-
or y of hegemony and Lacan’s under st anding of subject ivit y as split and
decentered.”
“Jean-Luc Nancy’s critique of the Marxist idea of community as communion in The Inoperative
Community (Minneapolis: University of Minnesota Press, 1991) has been crucial to my consideration of a counter-model to relational aesthetics. Since the mid-1990s, Nancy’s text has become an increasingly important reference point for writers on contemporary art, as seen in Rosalyn Deutsche, Evictions; chapter 4 of Pamela M. Lee’s Object to Be Destroyed: The Work of Gordon Matta-Clark (Cambridge, Mass.: MIT Press, 2000); George Baker, “Relations and Counter-Relations: An Open Letter to Nicolas Bourriaud,” in Zusammenhänge herstellen/Contextualise, ed. Yilmaz Dziewior (Cologne: Dumont, 2002); and Jessica Morgan, Common Wealth (London: Tate Publishing, 2003).”
Antagonism and Relational Aesthetics, Claire Bishop.
Divina proportione, written by Luca Pacioli.
AG2020_1890144a
Light filtering through thin plant–mostly green, some yellow, some browning leaves and branching stems–casting soft shadows on a wall. Image was shot in Saint Augustine, at night, March 2020.
What is most near?
Ah, sweet dead year-
Thy fallen leaf
And gathered sheaf,
The presence that is fled,
The vows that once were said-
These are most near.
Swift speeds away
Rose-crowned To-day.
So far, so far
Her light feet are!
I look and see thy face
Haunting the upland place,
Dear Yesterday.
The blooming flowers,
The sunny hours-
These cannot rest,
These are half blest.
But thou forevermore
Art mine, love, as of yore,
And time is ours.
Shadows, Harriet Moore