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Forough Farrokhzad in Paris Review, by Joanna Scutts, 2020.

“In 1954, a nineteen-year-old poet walked unannounced into the office of the literary editor of Roshanfekr (The Intellectual), one of Iran’s most prestigious magazines. Her fingers were stained with green ink, and she trembled with nerves as she handed over three poems. One of them, the twelve-line “Sin,” described in explicit detail her affair with the magazine’s editor in chief. Different translations give different nuances to the opening of the poem: “I have sinned a rapturous sin / in a warm enflamed embrace” (Sholeh Wolpé), or “I have sinned, a delectable sin, / In an embrace which was ardent, like fire” (Hasan Javadi and Susan Sallée) or “I sinned / it was a most lustful sin / I sinned in arms sturdy as iron, / hot like fire and vengeful” (Farzaneh Milani). Across these variations, there are a few scandalous constants: the heat, the embrace, the pleasure, and the boldly unashamed I. The speaker declares herself as a sinner, but there is no repentance in the poem, no punishment. She is not her lover’s victim, but a joyous coconspirator, exhilarated by her power to arouse him: “Lust enflamed his eyes, / red wine trembled in the cup, / my body, naked and drunk, / quivered softly on his breast” (Wolpé).”


J’ai péché, péché dans le plaisir, Abnousse Shalmani, Grasset, 2024.

Dans ce roman puissant et subtil, au rythme effréné, Abnousse Shalmani met en regard les vies extraordinaires de ces deux écrivaines [Forough Farrokhzad, Marie de Régnier] qui firent toujours le choix de la passion, amoureuse, poétique ou purement sensuelle, au risque de s’en brûler les doigts. Une ode très contemporaine à la liberté artistique et à celles qui ne renoncent jamais, en Occident comme en Orient.

Shalmani also essayist. On Laïcité, 2023.

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Theaster Gates guest-edits Poem of the Day (Fall 2024); … [Gates] (he/him) is an artist whose practice finds roots in conceptual formalism, sculpture, space theory, land art, and performance. Trained in urban planning and within the tradition of
Japanese ceramics, Gates’s artistic philosophy is guided by the concepts of Shintoism, Buddhism, and Animism, most notably honoring the “spirit within things.” Foundational to Gates’s practice is his custodianship and critical redeployment of culturally significant Black objects, archives, and spaces.


Dikembe Mutombo, the Hall of Fame, finger-wagging center who spent much of his post-basketball career as an ambassador for the sport, has died of brain cancer at the age of 58, the NBA announced Monday. (ESPN)

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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


Jeannette Ehlers, We’re Magic. We’re Real # 3 (These Walls). PAMM.


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Do language, the measure

We die. That may be the meaning of life. But we do language. That may be the measure of our lives.

Toni Morrison, Nobel Lecture December 7, 1993

Speaking the Unspeakable, Anahid Nersessian. A review of Fady Joudah’s […] in New York Review.

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.


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feel, the light

a kind of solution

“Now what’s going to happen to us without barbarians?
Those people were a kind of solution. “

Waiting for the Barbarians, C. P. Cavafy

Glenn Ligon: All Over The Place, The Fitzwilliam Museum
20 September 2024 – 2 March 2025.

In The Week in Art. (Podcast)


 I’m Gonna Getcha, a two person show by Alejandra Moros and Thomas Bils. Spinello, September 21 – October 26, 2024. Checklist.

Bils, Ain’t Them Schools Learned You Nothin’, 2024. Oil on panel. 5 x 7 inches.
Moros, Gabi, 2024. Oil on canvas. 8 x 6 inches.