Whether it’s good or bad, I know not: I’m dazed, I’m bored, I’m sick to death: I go on crossing out commas and putting in semi-colons in a state of marmoreal despair. – Woolf
Still, even as it insists upon the poem’s acoustic dimension, that “[…]” hints at what exceeds or baffles speech and therefore, as Abrams might say, reckons with what cannot be reembodied or returned to life. Joudah belongs to a poetic tradition for which the unpronounceable mark—the ellipsis, the bracket, a large space on the page—has an intimate relationship to historical violence. It’s a tradition that includes Paul Celan (born Paul Antschel), a Holocaust survivor whose prolific ellipses, em dashes, and colons suggest the incommunicability of severe collective trauma, and M. NourbeSe Philip, whose 2008 masterpiece Zong! repurposes the text of an eighteenth-century legal case involving the murder of over 130 captive Africans, creating a fragmented work whose large white spaces signify the gaps and silences in the official record.
These typographic gestures draw attention to what poetry can and cannot do, and to its always abortive attempts to make sense of what is beyond moral comprehension.
…
There is the threat of subordinating ethical concerns to artistic ones, or else of turning the work of art into a newsreel, in which case we might ask: Why shouldn’t we just watch the newsreel? Besides, what would it mean—aesthetically, morally, politically—to write a good poem about genocide?
The poems in […], while occasioned by death, are poems that insist upon life.
Glenda León La Lluvia The Rain 2015 Monotipo, crayón y foto-grabado sobre papel Bunkoshi 60 g Monothype, crayon and photo gravure on Bunkoshi paper 60 g
Every sound is a shape of time: selections from PAMM’s Collection is organized by PAMM Director Franklin Sirmans with PAMM Curatorial Assistant Fabiana A. Sotillo. Participating artists include Abraham Cruzvillegas, Alfredo Jaar, Ellsworth Kelly, Glenda León, Helen Frankenthaler, Jennie C. Jones, Jules Olitski, Julie Mehretu, Lawrence Weiner, Luis Camnitzer, Lydia Okumura, Mark Bradford, Morris Louis, Nicole Cherubini, Richard Serra, Richard Dupont, and Robert Morris.
2023 | USA | 95 mins | Haitian Creole, English, Spanish Directed by Monica Sorelle Written by Monica Sorelle & Robert Colom Produced by Robert Colom, p.g.a. Co-Produced by Tristan Scott-Behrends
Jameson wrote 17 pieces for the London Review. ( ‘Jameson thinks dialectically in the strong sense, in the way we are all supposed to think but almost no one does’)
Also, at Piero Atchugarry, Women at Large, Nathalie Alfonso, Maria Theresa Barbist, Carolina Cueva, Carol Jazzar, Charo Oquet, Luna Palazzolo-Daboul, Chire Reagans, Carol Todaro, Denise Treizman. Curated by Dainy Tapia.
At Fundación Pablo Atchugarry, The55Project presents Tex(T), by André Azevedo, curated by Jennifer Inacio.
