RE:CONVERSATIONS :: OCCUPY LOVE :: WE ARE THE HUNDRED PERCENT :: AN INTERVIEW WITH VELCROW RIPPER
ExSt: How can we as artists work with the information that we're given? Why is non-informational media so crucial in making this movement really work? VR: Because activists so often think that, you know, the facts will be enough. And they really
AWESOME CREATORS :: FILM :: THE BEGINNING IS HERE! :: OCCUPY LOVE :: RELEASE / TOUR BEGINS MAY 3rd IN NYC
“Everything can be taken from a man but one thing: the last of the human freedoms—to choose one’s attitude in any given set of circumstances, to choose one’s own way.” ― Viktor E. Frankl, Man's Search for Meaning Sometime during the occupation of
EDITORIAL : THINKING ABOUT ART AT A TIME LIKE THIS
You who are on the road Must have a code that you can live by And so become yourself Because the past is just a good bye Despite the fact that I cannot think of a single person whose life has remained untouched by
AWESOME CREATORS :: 100,000 POETS FOR CHANGE :: GREECE EDITION, with ORGANIZER NANA NESTOROS
Last week, we inaugurated our weekly AWESOME CREATOR series in celebratory collaboration with 100,000 Poets for Change, with a special Editorial "Rendering The Old Model Obsolete," in which we sought to introduce the community not only to this terrific organization
SPECIAL EDITORIAL / AWESOME CREATORS EDITION:: "RENDERING THE OLD MODEL OBSOLETE" : 100,000 POETS FOR CHANGE
"history is a living weapon in yr hand & you have imagined it, it is thus that you "find out for yourself" history is the dream of what can be, it is the relation between things in a continuum of imagination what you find out for
Editorial:: THE OPERATING SYSTEM IS A VERB : Evolve Your Expectations
Intentions and Aspirations: If you've been hanging out by our lockers for a while you already know some of the language by which we define The Operating System. We've referred to this
POETRY MONTH 30/30/30: Inspiration, Community, Tradition: DAY 30! (Could it be?) :: Lindsey Boldt on Aimé Césaire
The other night poets Julian Brolaski and E. Tracy Grinnell were in town and in a bar rotten with poets in North beach, we got to talking about translation and our varying positions on the desire vs. intimidation spectrum in relation to doing our own translations. I brought up the Martinican poet, Aimé Césaire, as an example of a poet whose writing would interest me enough to translate it. I had been saying how French can feel too precise, too clean, too “le mot juste” when I really love a hot mess. Aimé Césaire takes French, a very coy language, very good at hiding its skeletons, and busts open the closets letting the nasty flesh-dripping zombies come out...and muck things up. Césaire’s French, one that excretes vivacity, vitriol and jouissance like the flora and fauna, the active volcanoes he invokes in his poems, reminds us of the proliferation of Frenches, just like our current proliferation of Englishes, that exist in spite of and because of France’s imperialist history. Julian brought up the hybridity of Cesaire’s texts, specifically thinking of his “Cahier d’un retour au pays natal” [Notebook of a return to the native land] which reminded me of my first encounters with Césaire in college. I had never seen prose live and move like his--be that “free”. I had been trying to wake my own prose writing from a death-like stupor when a professor of French and Francophone literature, Maryanne Bailey, who had visited Césaire in Martinique, introduced us to his collected poetry, translated by Clayton Eshleman. We read it both in French and English and I learned in the process that if you want your writing to live on the page it really helps if you hate the language, hate its restrictions and biases. You have to be willing to beat it up and knock it around a bit. You have to let your true ambivalence show. No, more than that, you have to make the language speak your radical visions; the same ones that would tear apart and rip out at the roots the society that grew that language and the shit storm you grew up in. As Césaire says in his essay “The Responsibility of the Artist” when referring to decolonization,“What is necessary is to destroy it, that is, tear out its roots. This is why true decolonization will either be revolutionary or will not exist.” [ed: full text at link]
AWESOME CREATORS *NEED YOUR HELP* :: SUPPORT THE OCCUPY POETRY ANTHOLOGY!
In the introduction to the Occupy Wall Street Poetry Anthology it reads, "all movements need their poets to set the tone, to raise the questions and express the sensibility." And so begins a tome of over 1000 pages, one that compiler Stephen Boyer originally imagined as merely a "few pages stapled together." If you wonder how it sets the tone, you need only read the cover page, where the first words after the title are, "WE LOVE YOU."