4th Annual Poetry Month 30/30/30 :: Day 1 :: Diana Rickard on Akilah Oliver
[box]It's hard to believe that today's post marks the first of our FOURTH annual 30/30/30 series, and that when this month is over we will have seeded and scattered ONE HUNDRED and TWENTY of these love-letters, these stories of gratitude
2nd Annual NAPOMO 30/30/30 :: DAY 14 :: DONNA FLEISCHER on LORI DESROSIERS
And Never Look Back: On Lori Desrosiers’ “Three Vanities” Not since Edward Field’s 1964 book of poems Stand Up, Friend, With Me, have I read a narrative voice formidable, tender, and singular as that of Lori Desrosiers in Three Vanities. These
2nd ANNUAL NAPOMO 30/30/30 :: DAY 4 :: FARZANA MARIE ON MIKHAIL, CARPENTER, AZZIZADA and POETRY IN SOCIAL CONFLICT
How does poetry grapple with the conflicts and social issues of our time? What can a poem do in the face of rocket-thuds, choking smoke, a child’s pink sandal in a blood-pool on the street? Can it find meaning in
IN MEMORIAM, IN SOLIDARITY : AARON SWARTZ's GUERRILLA OPEN ACCESS MANIFESTO
"With enough of us, around the world, we’ll not just send a strong message opposing the privatization of knowledge — we’ll make it a thing of the past. Will you join us?" - Aaron Swartz; Eremo, Italy, 2008 Here at Exit Strata,
FIELD NOTES :: No Instructions for Assembly :: Kameelah Rasheed's Photographic Memory
While an Artist in Residence at the Center for Photography at Woodstock this summer, I continued to work on the series Memories: No Instructions for Assembly. This series which has morphed into six evolving iterations - I, II, III, IV, V, and VI is born from my family's experience with displacement and loss. There is limited photographic evidence that my family ever existed. Photographs were lost when we were unlawfully removed from our home in 1998. Some photographs were water-damaged or accidentally trashed before we packed seven lives and accompanying articles into a burgundy station wagon and made our home in a 450-square foot illegal attachment where my grandfather died, alone, nine years prior of stomach cancer. An attempt to conjure my family back into existence, in Memories: No Instructions for Assembly, I weave together orphaned photographs found at garage sales, photos stolen from the Facebook pages of estranged family members, magazine pages, water-damaged images salvaged during my family's 10-year bout with homelessness, and original photography to re-imagine a lost family history. Working in the tradition of the archaeologist and the archivist, I sample as well as reorganize existing materials into a series of images to produce a non-linear narrative that dances between vivid and vague memories. 