Lors d’un constat effectué au lendemain de l’attaque, des trousseaux de clés de la prison, des uniformes de police ainsi que des documents administratifs ont été retrouvés à même le sol, selon un des deux rapports obtenus par AyiboPost. Les cadenas et barrières pour la plupart étaient brisés.
«On a fait ce qu’on pouvait», déclare à AyiboPost Pierre René François, le directeur de la DAP. «On n’avait pas seulement le pénitencier national à consolider», dit-il. «Il y avait aussi le palais national, la base de l’Unité Départementale de Maintien de l’Ordre (UDMO), le commissariat de Port-au-Prince, l’aéroport… les bandits étaient partout et ce n’était pas facile à gérer.»
Widlore Mérancourt et Rolph Louis-Jeune for Ayibopost
It is easy to criticize US/UN involvement in Haiti. But who will help in maintaining some sense of order? And how?
“The flatness I have in mind is also a form of rejoinder to a calamitous present. It, too, short-circuits the expectation that subjects will authenticate themselves through confession or breakdown, that they will call forth hidden but unfeigned intensities of feeling through their own meticulous artistry. Crucially, although a far cry from the honnêteté lofted by the crosscurrents of courtly and early commercial society, it retains what Pascal identified as an intimacy with judgement. Materializing in scenes and histories of violence, it ultimately sidesteps or leapfrogs an understanding of such contexts as traumatic, to land on the simple verdict that they are wrong. Without saying that this is a more radical approach to a political poetics, I would nonetheless suggest that it is a crucial and overlooked style of critique. In the us in particular, such flatness confronts a public culture that has long appealed to unexamined and unmanaged feeling to supercharge repressive programmes and paranoias.”
[…]
” A recessive poetics doesn’t have to be radical: it might be timid, callous or boring. As Eisen-Martin’s work suggests, because flatness is embedded in a sense of the present as not only cruel but monotonous, it has definitively seceded from more exuberant or animated forms of expression; if it didn’t, it would not be flatness but melancholy. One might accuse it, then, as one might accuse these poets, of refusing or being unable to present a model of social life that is ecstatic, and through which human life might finally uncover the full range of its capacities for experience. But flatness is also, or might be, an ethical withdrawal from the impulse to dictate how any other person should encounter themselves. There is no cult of flatness, though there has long been a cult of lyric agitation; and since the latter is in no danger of dissolving, perhaps it might be good to have some alternatives to it.”
Notes on Tone, Anahid Nersessian, New Left Review 142
“you speak softened drama of fury and frenzy, quiet underbelly, light beaming into peaceful dark interrupted by minor collisions bodies were built to withstand.”
The Channeler, Anahid Nersessian, interviewed by Merve Emre, Episode Four of “The Critic and Her Publics”, March 12, 2024.
“One of my aims is to create a space where a reader can take twenty minutes to engage with an object. Not to be too idyllic about it, but to me that’s freedom, and the more we can experience or rehearse freedom in our day-to-day lives, the more we can know what it might be on a grander scale.”
“That reading would have to be something like the old saw from academic discourse around what’s called secularism. Nowadays nobody believes in God, in fairies, nymphs, anything, so we look at the world and see trees instead of animate beings that have souls. And this is very depressing for everyone. So, this seems to be an expression of that same idea—I don’t see magic in the world.”
“the thing that cannot be fitted into a system but which nevertheless the system needs into order to constitute itself as a system” – Hubert Damisch through Rosalind Krauss on Agnes Martin via Nersessian’s Apostrophe : Clouds.
“clouds synchronize the concrete with the immaterial” – AN
In so returning to ourselves from the realm of projection, we are tasked with finally mapping and traversing the inner landscape of the psyche, with all its treacherous terrain and hidden abysses. Hollis writes:
“It takes courage to face one’s emotional states directly and to dialogue with them. But therein lies the key to personal integrity. In the swamplands of the soul there is meaning and the call to enlarge consciousness. To take this on is the greatest responsibility in life… And when we do, the terror is compensated by meaning, by dignity, by purpose.
[…]
Our task at midlife is to be strong enough to relinquish the ego-urgencies of the first half and open ourselves to a greater wonder.”
In the remainder of The Middle Passage, Hollis goes on to illustrate … how personal complexes and projections play out in everything from parenting to creative practice to love, and how their painful renunciation swings open a portal to the deepest and most redemptive transformation.