Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US

Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453


Cost of War in Iraq


Cost of War in Afghanistan

The cost in your community

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual

No Sieges, Tortures, Starvation & Surveillance
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.

The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Saturday, November 24, 2007

Freedom Writ Large--John Pilger on Poets and Journalists of Burma

Freedom Writ Large

This is John Pilger's address to a London meeting, 'Freedom Writ Large', organized by PEN and the Writers Network of Burma, on October 25.

By John Pilger

10/27/07 "ICH' -- -- Thank you PEN for asking me to speak at this very important meeting tonight. I join you in paying tribute to Burma's writers, whose struggle is almost beyond our imagination. They remind us, once again, of the sheer power of words. I think of the poets Aung Than and Zeya Aung. I think of U Win Tin, a journalist, who makes ink out of brick powder on the walls of his prison cell and writes with a pen made from a bamboo mat – at the age of 77. These are the bravest of the brave.

And what honor they bring to humanity with their struggle; and what shame they bring to those whose hypocrisy and silence helps to feed the monster that rules Burma.

I had planned tonight to read from my last interview with Aung San Suu Kyi, but I decided not to – because of something Suu Kyi said to me when I last spoke to her. "Be careful of media fashion," she said. "The media like this sentimental version of life that reduces everything down to personality. Too often this can be a distraction."

I thought about that, and how typically self effacing she was, and how right she was.

In my view, the greatest distraction is the hypocrisy of those political figures in the democratic West, who claim to support the Burmese liberation struggle. Laura Bush and Condoleezza Rice come to mind.
"The United States," said Rice, "is determined to keep an international focus on the travesty that is taking place in Burma."

What she is less keen to keep a focus on is that the huge American company, Chevron, on whose board of directors she sat, is part of a consortium with the junta and the French company, Total, that operates in Burma's offshore oil fields. The gas from these fields is exported through a pipeline that was built with forced labor and whose construction involved Halliburton, of which Vice President Cheney was Chief Executive.

For many years, the Foreign Office in London promoted business as usual in Burma. When I interviewed Suu Kyi I read her a Foreign Office press release that said, "Through commercial contacts with democratic nations such as Britain, the Burmese people will gain experience of democratic principles."

She smiled sardonically and said, "Not a bit of it."

In Britain, the official public relations line has changed, but the substance of compliance and collusion has not. British tour firms – like Orient Express and Asean Explorer – are able to make a handsome profit on the suffering of the Burmese people. Aquatic – a sort of mini Halliburton – has its snout in the same trough, together with Rolls Royce and all those posh companies that make a nice earner from Burmese teak.

When the last month's uprising broke out, Gordon Brown referred to the sanctity of what he called "universal principles of human rights". He has said something similar a letter sent to this meeting tonight. It is his theme of distraction. I urge you not be distracted.

When did Brown or Blair ever use their close connections with business – their platforms at the CBI and in the City London – to name and shame these companies that make money on the back of the Burmese people? When did a British prime minister call for the European Union to plug the loopholes of arms supply to Burma, stopping, for example, the Italians from supplying military equipment? The reason no doubt is that the British government is itself one of the world's leading arms suppliers, especially to regimes at war. Tonight (October 25) the Brown government has approved the latest American prelude to its attack on Iran and the ensuing horror and bloodshed.

When did a British prime minister call on its ally and client, Israel, to end its long and sinister relationship with the Burmese junta. Or does Israel's immunity and impunity also cover its supply of weapons technology to Burma and its reported training of the junta's most feared internal security thugs? Of course, that is not unusual. The Australian government – so vocal lately in its condemnation of the junta – has not stopped the Australian Federal Police from training Burma's internal security forces in at the Australian-funded Center for Law Enforcement Cooperation in Indonesia.

There are many more of these grand, liberal hypocrites; and we who care for freedom in Burma should not be distracted by the posturing and weasel pronouncements of our leaders, who themselves should be called to account as accomplices – unless and until their fine words are matched by deeds that make a genuine difference and they themselves stop destroying lives. We owe that vigilance and that truth to Aung San Suu Kyi, to Burma's writers and to all the other bravest of the brave.

Digitally Repairing Lebanon: Lenka Clayton

Many deepest thanks to David Colagiovanni for sending me this link at this site--
where you will find some other very extraordinary works--
I am very thankful to David for introducing this artist and their work to me--

I think these are very beautiful works, and ones very specific to the digital medium--
in a very interesting way they relate to a reversal of what Robert Smithson, after Nabokov, called "ruins in reverse."

For Smithson "ruins in reverse" are construction sites, which begin looking like ruins--the scattered pieces and stacks of materials, the holes dug, the piles of earth being moved about, the equipment sitting on the torn up ground like so many prehistoric behemoths. And out of this scene of "ruin" in reverse, the building project arises and take shape and become the realization of the ruin as though seen in a film starting with a ruin and running backward to finding its origin as a "former building," only now, it is a future/present building that exists.

In these works by Lenka Clayton, the ruins are not reversed but repaired--restored to a "previous beauty" as buildings before being ruined. Yet the restoration takes place digitally--

leaving one to wonder if the only restorations possible in this war torn city/landscape are removed from the material to the digital planes.

The digital image then becomes a form of "wishful thinking," the image of a dream of things being restored to their former glory in the future.

Yet they are also the emblems of a hope which will not give up, even if it is only a hope found in an image--the altering of the image gives a sign that alterations are indeed things not only to be dreamed, but to be made possible, and being possible, made real.

Thank you to Lenka Clayton for these inspiring examples of the resurgence of hope, the confidence in repairs and the displacement of despair from a scene of ruin to one of a healing imagination capable of being realized, once it can be seen, envisioned, as in these works. ---

Repairing Lebanon

2007. Digitally manipulated photographs

Photographs taken in Lebanon after the 2006 conflict with Israel, digitally repaired.

Repairing Lebanon

2007. Digitally manipulated photographs

SOS-ART.COM: Le Theme Soda/Soda Theme

Many thanks to friend and fellow artist Nicholas Carras for sending news of this and links to participate in further projects--

sos-art .com

(in English after the french version)

Le thème soda
Prochaine soirée artistique à Paris

Le thème soda :

Votre travail nous intéresse toujours!!
(Peut-être que ce sera réciproque?!)

Le thème soda est en ligne :

Artistes participants :

Claude Chuzel
Jerome Pergolesi
Eric Cassar
Allan Revich
Aurélie Villemain
W.I.S Project
Tristan Mory
John M Bennett
Hervé Perdriel
Gilles Malatray
Mr William
Nathalie Renault
Ariane Bart
Nicolas Carras
Julien Blaine

Prochain thème:


Proposition à remettre avant le 10 janvier 2008
Ce thème sera mis en ligne sur le site à partir de cette date

Si vous même ou des amis proches de votre travail souhaitent participer qu'ils n'hésitent pas à prendre contact ou à nous envoyer une œuvre.
Si vous pouviez nous aider en s'associant ou en faisant la promotion de notre démarche par exemple en ajoutant un lien sur votre site, ou par tout autre moyen ....
Merci pour votre attention et à bientôt

Pour plus d'infos: Nicolas Carras (+33) 06 20 75 62 77
Ou par mail:


Prochaine soirée artistique à Paris:, dans un désir de développement et suite à une affluence de propositions, décide de trouver un lieu afin de donner vie, en public, au concept du thème.

Une "friche théâtre urbain" sur Paris ouverte à l'art contemporain, lieu d'exposition de plus de 400 m2 où l'on peut manger et boire, a donc été choisi pour ces soirées dont une seconde en cours d'organisation aura lieu le 15 (à partir de 20h00) et 16 décembre (12h00/19h00) 2007. Après un lieu "virtuel" le collectif souhaite proposer à des artistes d'investir un lieu réel.

Photo du lieu:

Video de la dernière soirée:

Adresse du lieu:

75017 PARIS
METRO VILLIER OU WAGRAM (petite marche de 10 minutes)
BUS PC PORTE D'ASNIERE (le plus proche)

N'hésitez pas à nous contacter pour proposer des œuvres (photos/photos plasticiennes/vidéos/son/poésie/performances/concert):

( est une association loi 1901)


The soda theme
Next art party in Paris

Soda theme:

Your work still interests us!!
(Maybe it will be mutual?!)

The theme soda is on-line :


Claude Chuzel
Jerome Pergolesi
Eric Cassar
Allan Revich
Aurélie Villemain
W.I.S Project
Tristan Mory
John M Bennett
Hervé Perdriel
Gilles Malatray
Mr William
Nathalie Renault
Ariane Bart
Nicolas Carras
Julien Blaine

Next theme:


Propositions have to be send back before the 10 of january 2008.
This subject will be put on-line on the website

If you or friends close to your work wish to participate
they should not hesitate to get in touch or to send us a proposition.

If you could please help us by joining or by promoting the virtual gallery for example by adding a link on your website,
or by any other ways....
Thank you for your attention and goodbye

For more informations: Nicolas Carras (+33) 06 20 75 62 77
Or by email:


Next art party in Paris:, in a desire of development and further to an influx of propositions, decides to find a place to give life, in public, to the concept of the theme.

A " fallow land urban theater " in Paris opened to the contemporary art, place of exhibition of more than 400 m2 where we can eat and drink, was thus chosen for these evenings. The second one will take place the 15 (20h00) and 16 of december (12h00/19h00) 2007. After a virtual place the collective wishes to suggest to artists to invest a real place

Pictures of the place:

Last art party video :


75017 PARIS

Do not hesitate to contact us to propose your works (photos/videos/sound/poetry/performances/concert) :

( is an association law 1901)

The team

Martin Molinaro: Performance en el Museo de Arte Contemporáneo de Monterrey- México

from The Secret History of American Writing

from The Secret History of American Writing: "The Underground Poet Lee Distributing Free Broadsides, New Orleans, 1963"

24 November is anniversary of the 1963 murder of Lee Harvey Oswald by Jack Ruby

Friday, November 23, 2007

An Appearance of the Disappeareds

Sticker Dude Universe: Mail Art Call & Opening Reception--From the Great Sticker Dude

Interview & Poetry with Iranian Poet Farideh Hassanzadeh (also with poem "Isn't it Enough")

FPIF Fiesta!
Interview with Iranian Poet Farideh Hassanzadeh

Melissa Tuckey | June 12, 2007

Editor: John Feffer

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Foreign Policy In Focus

Farideh Hassanzadeh (Mostafavi) is an Iranian poet, translator, and freelance journalist. Her first book of poetry was published when she was 22 years old. Her poems appear in the anthologies Contemporary Women Poets of Iran and Anthology of Best Women Poets. She writes regularly for Golestaneh, Iran News, and many other literary magazines and newspapers. Her poems translated into English appear in Kritya, Jehat, interpoetry, museindia, earthfamilyalpha, and Thanalonline. Her anthology of contemporary American poetry will appear in 2007. You can read her poem Isn't It Enough? here.

Melissa Tuckey: What role do poets play in Iranian society?

Farideh Hassanzadeh: Our great poets like Hafez, Rumi, Saadi, and Ferdousi have the largest circulation in book fairs of Iran, after our sacred book, the Quran. This means poets after prophets rule the heart and mind of my people. To inspire confidence, politicians recite poems by classic or modern poetry in their speeches. During the imposed war between Iran and Iraq, one journalist reported about the poetry he found in the trenches and foxholes that survived after the dead soldiers, poems like this from Forough Farrokhzad:
Remember the flight
the bird is mortal

And everybody knows that one of the most important reasons why people rebelled against the Shah regime was the persecution and execution of a young poet, Khosro Golsorkhi, who was a political prisoner. In military court he refused to ask the Shah for amnesty and bravely declared: "I don't beg for my life. I have always written for my people and I defend only my people not my own life. "

My people never forgive the execution of a poet. It is the execution of words. That is why Federico Garcia Lorca is the most popular foreign poet in Iran.

Tuckey: How do people in your country learn such a deep appreciation for poetry?

Hassanzadeh: In Iran, from remote places to modern cities, in each house you may find two books: the Quran (our sacred book) and a book of Hafiz (our great classic poet). People planning to travel or to marry or to do business consult with Hafiz by choosing at random a poem from his book. If Iran is still Iran and after so many foreign aggressors, has not yet lost his identity, it is because of its loyalty to its culture. My son, in his latest article, writes that "losing the lands and cities in wars can't defeat a nation. We Iranians know we must keep our culture. The real borders of our country are our culture." And one of the most vivid aspects of our culture is the poetry of Hafez, Rumi, Ferdousi. Khayam, Nezami, and of many other poets from classic to modern.

Tuckey: What is it like to be a woman writing in Iran? Do women poets receive an equal amount of admiration, support and respect?

Hassanzadeh: In recent years, women writers have been more popular than men writers for they are better to able to express the hidden realities of family and society. Women writers like Roya Pirzad, Fariba Vafi, and many others have won the most famous literary prizes and people buy their books in spite of financial problems. The books of women writers reach the 20th or 30th edition within a very short time. But as for poets, our great poets are still Forough Farrokhzad and Simin Behbahani from the 1940s and 1950s. Meanwhile, among our great directors, women like Rakhshan Bani Etemad, Samira Makhmalbaf, and Tahmine Milany have achieved international success and fame. And our best playwrights have been women too. Increasingly, more women than men are studying in universities.

Tuckey: How has war affected your life and your writing?

Hassanzadeh: Before war my poetry was not familiar with words like: bombs, alarming sounds, ruins and fears. The sky and the beauty of clouds or the brightness of stars turned into a terrible roof above me where bombs could fall and explode all my dreams. Before war I used to see the killed only on TV; in the news about Palestine. I never was able to smell the warm stream of blood shown in massacre reports. War acted like a sleight of hand to make the distance between me and the world disappear, beyond the TV. It turned my first little son to a bird without wings to fly, a bird good only to be buried forever.

Tuckey: I am sorry to hear about the loss of your son. How old was he and when did this happen? How do you cope with the loss?

Hassanzadeh: I almost lost my second child too. On my way to the hospital to give birth to my daughter Sufi, Iraq bombed my city of Tehran eight times in less than one hour. An old man who was looking at me big with child, shouted to the sky: “God! What is wrong that this child must fear coming into this world?” With each bomb the baby inside me tried painfully to take refugee in a peaceful place she couldn't find. In fact during the war instead of the doctor's protective hands, bombs gave birth to many Iranian women's children in the streets. In the past soldiers targeted enemy positions, but now they drop bombs on women and children. My son, before he could experience the fear of his first day of school, experienced the fear of his last breath, his hands gone with the bombs. He never tasted the joy of putting a pencil on paper to write a word.

As for your question: How did I cope with the loss? Honestly I could forget his death but my feet, indifferent to me, sometimes go to the place where my son was bombed. All mothers of dead children know their children never leave them, never forget them. They wait for the night to return in dreams. They live behind the closed eyelids of their mothers.

Tuckey: Do you believe poetry is by its nature political?

Hassanzadeh: In Farsi the word for poetry is "sher"—from" shou-our", which means wisdom. And wisdom can't ignore political realities. In my country the great poets from classic to modern, have always been speaking in their poems of social problems and political events. Hafez (1320-1389) in one of his most famous sonnets says:
Kings find good reason for the wars in which they are stuck
since truth they cannot see, to falsehood they would flock.

And, in an excerpt from a longer poem, our contemporary poet Forough Farrokhzad says:
All our neighbors are planting
bombs and guns
in their gardens instead of flowers
I fear the time
which has lost its heart

Personally, in the depth of my heart, I have a deep fear of political poetry. My fear of political poetry as a poet relates to my fear of producing political mottoes rather than pure poetry. Remember the Polish poet Czeslaw Milosz, who wrote a letter to the New York Review of Books objecting to a praiseworthy review by A. Alvarez that called him a "witness.” In Milosz's view, the label narrowed the meaning of his poetry and implied that his poems were a kind of journalistic response to events. Anyway when you live in a country that is always prey to superpowers, you feel guilty when you write love poems even for your husband!

Tuckey: In the current crisis do you see Iran as a prey to superpowers? I think that is interesting because here in America we are given an image of Iran as being powerful and dangerous and an instigator of problems.

Hassanzadeh: Imagine a cottage in the morning of a village. The man is ready to go to his farm to harvest wheat. His wife and children are full of hopes and desires. When the man opens the door, instead of a pleasant breeze, he finds himself surrounded by a band of cruel invaders. This cottage is my country. After rebelling against the Shah regime, my people were ready to reap the benefits of their freedom and independence but they found themselves involved in an imposed war by Iraq, supported by superpowers for eight years. Now tell me please who is dangerous and the instigator of problems? Of course, I admit that my people, in spite of all the difficulties are very powerful in their spirit. They surely will never accept any foreign country to decide for them.

Tuckey: How do you feel about US foreign policy toward Iraq and Afghanistan? And, more recently, U.S. policy toward Iran? How as a poet do you deal with these developments?

Hassanzadeh: To know my feeling and many other Iranian 's feeling about the U.S. big-stick policy toward Afghanistan and Iraq, I refer you to this poem: “You see no one, you hear no one,” a poem by my son, 14 years old ,which was published widely in Iranian newspapers and magazines. This poem was also selected to be published in UN Observer on Valentine’s Day.

A Letter to George W. Bush
Hossein Mostafavi Kashani

You see no one, you hear no one
You are an important person!
So important T.V. shows you every night,
You hold the microphone
And you talk important words,
So important even Satan listens with gape mouth.
Only the flies don’t take you very seriously,
And while you talk
They are busy with their usual work.
They search for dirty, stinking things
And then they rub their hands together
while saliva drips from their mouths.

Flies don’t have a president
but some of them are very important,
So important TV shows them every night.
But they don’t have a microphone,
And unlike you they are not all dressed, making speeches,
But with dirty hands and legs,
They move on Afghani* children’s lips and eyes,
The same children on whom you drop bombs
And then send them food parcels.

By the way, how long has it been since you saw a fly?
How many years has it been since you read a poem?
Would you recognize the breeze if it passes you by one day?
Just think! When you were a child, like all other children,
you saw a fresh rose whenever you looked in the mirror.
But now you see an important person
Who will die one day
Even if he is the president of America.
If you were to ask your heart
It would say it doesn’t want to beat in your chest
And be the runway for all the planes
that bombard cities and towns.
For, God has created the heart
Only for love.
So have pity on your heart even if you can’t pity anyone else.
It is an apple that will burst one day
And suddenly you will find your self,
Standing before the gate of paradise, begging
the pieces of your heart
from every single person you killed.
But no one sees you
No one hears you just as you neither see nor hear any person
on TV every night.
You only hold a microphone, and say big words
Because you are the president of America
And a very very very important person!

Hassanzadeh: And as for an attack on Iran, I am sure Bush is going to dig his grave with his own hands. History has proven that all fascists are successful for a short time but final victory is with the oppressed people.

Melissa Tuckey is a poet, an activist involved in DC Poets Against the War, and a FPIF contributor. Farideh Hassanzadeh an Iranian poet, translator, and freelance journalist.

Melissa Tuckey | June 12, 2007

Editor: John Feffer

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Isn't it Enough? Poem by Farideh Hassanzadeh

Isn't It Enough?

Farideh Hassanzadeh

I gave up love
being satisfied with the quiet of shadows
And memories.

Time was past, lost,
moments exploded
by the rain of bombs.

At nightfall
I don’t brush my dreams any more.
At nightfall
I don’t care for the wandering sun any more.

At nightfall
I leave the frightened moon in the sky
to shelter under the ground.

I am neither a woman nor a poet any more.

Night by night
more and more,
I feel real.

Like the bloody sound of alarms,
Like the roaring anti-aircraft rounds,
Like the falling bombs and rockets,
which turn the ruins and ashes
into eternal reality;
I feel night by night more real
and old,

so old and real that in the mirror
I see nothing anymore
but an aisle of empty chairs.

Oh, isn’t it enough?
What does a man need
more than a loaf of bread,
a quiet night
and an armful of bleak love,
for giving up and being satisfied
with the quiet of shadows
and memories?

Farideh Hassanzadeh an Iranian poet, translator, and freelance journalist.

FW: Presentación del documental Leal al tiempo sobre Eusebio Leal y la Habana Vieja

Date: Thu, 22 Nov 2007 15:42:33 +0000
Subject: Presentación del documental Leal al tiempo sobre Eusebio Leal y la Habana Vieja

Eusebio Leal
El Centro de Cultura Casa Lamm se complace en invitarle a la presentación del documental  Leal al tiempo ------------------ de Alejandra Ochoa  en torno a la figura de Eusebio Leal Spengler y la Habana Vieja   El próximo jueves 29 de noviembre de 2007 a las 19:00 hrs. Salón Tarkovsky Álvaro Obregón 99 Col. Roma, México D.F. 06700 Teléfono: (55) 5525-3938  --------------------------------- Exposición Fotográfica SIGUIENDO LOS PASOS DE EUSEBIO... Silvia Martínez (Kuti) Salón Dostoievski ---------------------------------  Galería Casa Lamm is pleased to invite you to the presentation of the Documentary -Leal al Tiempo- next November, Thursday the 29th, 19:00 hrs., in Av. Álvaro Obregón 99 Col. Roma, México, D.F.

Thursday, November 22, 2007

Isn't it Enough? Poem by Farideh Hassanzadeh

Isn't It Enough?

Farideh Hassanzadeh

I gave up love
being satisfied with the quiet of shadows
And memories.

Time was past, lost,
moments exploded
by the rain of bombs.

At nightfall
I don’t brush my dreams any more.
At nightfall
I don’t care for the wandering sun any more.

At nightfall
I leave the frightened moon in the sky
to shelter under the ground.

I am neither a woman nor a poet any more.

Night by night
more and more,
I feel real.

Like the bloody sound of alarms,
Like the roaring anti-aircraft rounds,
Like the falling bombs and rockets,
which turn the ruins and ashes
into eternal reality;
I feel night by night more real
and old,

so old and real that in the mirror
I see nothing anymore
but an aisle of empty chairs.

Oh, isn’t it enough?
What does a man need
more than a loaf of bread,
a quiet night
and an armful of bleak love,
for giving up and being satisfied
with the quiet of shadows
and memories?

Farideh Hassanzadeh an Iranian poet, translator, and freelance journalist.

Visiting Hani's House: Artist/Activist Ellen O'Grady Goes to Hebron

Visiting Hani's House

Ellen O'Grady | November 15, 2007

Editor: John Feffer

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Foreign Policy In Focus

Activist artist Ellen O'Grady visits Hebron, the only Palestinian city outside East Jerusalem where Israeli settlers occupy the city center.

I am on my way to Hani Abu Haikel’s house. If I don’t run into any settlers or soldiers it should be a five-minute walk along the outskirts of the Tel Rumeida neighborhood.

My journey begins on Shuhadda Street, a once-bustling thruway of stone buildings whose soul left when the restaurant-owners and barbers and shoe-repairmen shut and barred their wide steel doors for good. Since the Israeli Defense Forces declared it off limits to Palestinians for the safety of local settlers, few families remain. Today, my only living company along this boulevard is a few scraggles of grass creeping up through cracks.

Just before I reach the Beit Hadassah settlement, I take a right turn up the outdoor staircase and a quick left off the stairway passing the Cordoba school, then right, again, up a steep path to circle around the heavily-guarded Tel Rumeida settlement. As I was instructed, I check to see if any settlers are at the well or occupying Issa’s house, a concrete building which stands vacant in front of Hani’s. Both appear empty, so I continue, peeking into the house as I walk by. The view through Issa’s glassless window reveals the work of vandals—walls covered with Hebrew graffiti and Israeli flags.

Olive trees line the terraces leading to Hani’s home at the top of the hill. Hani tells me the trees are hundreds, some maybe even a thousand, years old. They call the olives Roman olives. Their oil is heavy and expensive, “like a diamond.” Hani had good income from the olives until settlers burned and cut down over 200 of his trees—half what he owned.

Over 100 years ago, the Abu Haikel family bought this crest of hill in the Tel Rumeida neighborhood of Hebron. Jameel Abu Haikel built his house on the family property in 1947, the same house where his son Hani now lives with his wife, mother and children. Hani says when he was a child in the 1970s it was a beautiful area, quiet and safe. In the early 1980s, however, after archaeologists claimed that Tel Rumeida might be the site of King David’s first palace, a group of Israeli settlers brought in six portable caravans and mounted them directly over the excavation site, just beside Hani’s home. Ever since, the land around the settlement has slowly been taken over and the Abu Haikels have suffered constant harassment. The settlers throw stones, bottles, and curses. They dump garbage onto the land and house, sever and pour paint on the family’s grape vines, and burn their cars and olive trees. Like many of the Palestinian residents of Tel Rumeida, the Abu Haikels have fortified the windows of their homes with metal bars and they keep a careful watch over their children. Just a few weeks before my visit, Hani’s son Jamil broke his leg when he was running from stone-throwing settler children. Because Palestinians are forbidden to drive vehicles into the neighborhood, Jamil, now unable to walk a far distance, cannot go to school.

“Believe me, it’s hell to live in this situation.” Hani tells me. “It’s not a civilian neighborhood, it’s a military neighborhood. When my kids go outside they are surrounded by the guns of the soldiers and the guns of settlers—every one of them has a gun. The settlers are harassing us step by step. In the past we had five families living in this building, now there is just our family.”

Hani fights back by sharing his experiences with Israelis and internationals. He works with a number of Israeli peace organizations, including Breaking the Silence, an organization of veteran Israeli soldiers that collects testimonies of soldiers who served in the Occupied Territories and provides guided tours of Hebron—a place where many of the members were stationed. A week ago Breaking the Silence brought to Hani's a group of 50 Israeli youth who were soon to enter the army.

“When they go into the army they will be brainwashed and prepared for battle,” Hani says. “They will not be told they will be meeting civilians and innocent people. I want to talk with them because most of them have not had experiences with Palestinians. They only see Palestinians on TV and see them only as fighters. I asked them, ‘have you ever talked with a Palestinian?’ They said no. So how will they know us if they don’t sit with us? I saw in their body language they were scared to come. However, after my children and I talked to them their body language changed. I showed them a video of settler and soldier harassment. I swear when many left they were crying. They said, ‘We did not believe the Israeli democratic government could do something like that.’ They stayed two hours talking, even though we only scheduled a half hour.

“This is how I fight: not with a gun, but with words, through sitting down and talking.”

Ellen O'Grady is an artist and social justice activist with seven years experience working in Palestine and Israel. She recently ended a nationwide tour with her book Outside the Ark: An Artist's Journey in Occupied Palestine (, and is currently working on a visual essay based on interviews with Palestinians and Israelis. She can be contacted at

1 Encuentro de Arte Acción Bogotá 2007


Date: Wed, 21 Nov 2007 21:32:03 +0100

Bengali Poets/Writers/Artists lead protest rallies against the state Government

Aryanil Mukherjee, poet and
Editor, Kaurab
A Bengali magazine representing parallel literature

Aryanil Mukherjee <>
Date: Nov 22, 2007 6:42 AM

A complex story. Of how a Marxist government can turn neo-liberal and
to an almost maddening degree and end up mishandling the state-run police
leading to a genocide. A genocide against poor peasants unwilling to give up
farmlands earmarked by the state for industrial development.

West Bengal is the only state in India that has been dominated by a Marxist
CPIM (Communist Party of India, Marxist) for 30 years. This government has
elected and re-elected by the people several times in a multi-party
democracy. They
came into power in 1977 following the tyrannical regime of the previous
government. It was a massive electoral win for them which they immediately
up with land reforms that supported millions of poor landless Bengali
farmers. The
agrarian system strengthened, people poured their trust on the Marxist
They found ready support amongst virtually every strata of the society. At
the same
time no energy was lost to mobilize the unemployed frustrated youth into a
political force.

While agriculture propspered, a rapid decline occured in the industrial
scenario. Most profiteering
businesses moved out of the state or collapsed. Trade did prosper centering
but the engineering industry nearly vanished forcing out of the state
thousands of skilled workers
engineers and technocrats, myself included.

Strangely, the same government has now turned their tides against agrarian
Bengal. Kind
of falling out of place in a rapidly growing Indian economy, they are
desperate to invite
national and foreign investors. A village called Nandigram was earmarked to
be transformed
into the next industrial hub. Although the government had designed a
rehabilitation program
for the to-be-displaced farmers, they weren't willing to evacuate. A
genocide resulted
from the local farmers defiance against the state-run police early this

For all these months the village had been nearly sealed by the state
government cadres
(marxist representatives of the lowest rank) who, often impersonating as the
police (
dressed up in their uniforms) had committed serious crimes including rape,
murder, massacre and
evacuation of hundreds of villagers. The real police force, largely
undercover, were instructed to
stay out of "all this".The press being kept out of the corner, the real
facts are still unknown.
A second genocide took place on 14th November, 2007.

The Chief Minister of the state of West Bengal, Buddhadev Bhattacharya, a
much respected politician,
hailed often for his honesty, a fervent supporter of poetry and arts,
responsible for funding several films of
Satyajit Ray and also an accomplished playwright is viewed as the main
culprit. He is being criticized and
vilified all over the state. He has become a larger than life example of how
"power corrupts" in India.
Today he is a Stalinist to many.

Poetry has a very high public profile in Bengal and when poets and writers
lead a mass rally, it scares
the police, concerns the government. Leading mainstream poets like Sankha
Ghosh, Joy Goswami, writers,
painters, film-directors like Aparna Sen, playwrights led protest rallies on
the 14th of November and
cordoned the police head-quarters in Kolkata. They were joined by more than
a hundred poet/writers
who represent parallel Bengali literature and thousands of common
Kolkatans. The police baton-charged
the protestors. Many were hurt. Several major Bengali poets like Sankha
Ghosh, Alok Sarkar had earlier
renounced all state honors they had received.

Protest rallies have flooded the City of Joy for the past one week, often
creating hour-long traffic jams
causing all sorts of public inconvenience. Poetry-readings and street-plays
are happening in many street
corners of the city every single day.

Of the hundreds of newslinks that could be found on the net here are a
select few.

Here is a link to Sanhati, an organization fighting neo-liberalism in Bengal
contains photos of protest rallies

Here are some links to privately shot videos at Nandigram on Nov 14, 2007
that are disturbingly revealing
The video depicts police brutalities against the peasants.

Faces in search of justice

Joy Goswami, a popular Bengali poet reads on the streets

Kabir Suman writer, folk-singer, sings on one of the city's busiest avenues

Suman sings his lyrics on piano

Joining several other Bengali language webzines, Kaurab also wears
a black badge of protest today.

Aryanil Mukherjee
Editor, Kaurab
A Bengali magazine representing parallel literature

Tuesday, November 20, 2007

Croxhapox Opening & Mail Art

Date: Tue, 20 Nov 2007 23:21:58 +0100
Subject: croxhapox > uitnodiging <

Indien U deze mail niet kan lezen, klik hier.
25 november - 15 december 2007
open: donderdag - zondag van 14u tot 18u
Lucas Munichstraat 76-82 9000 Gent
opening zaterdag 24 november 2007, 18u
>concert: guy couckhuyt (b) / experimental dj, 20u

>florin buta (b) / schilderijen
[Foto Florin Buta]
>stef debrabander (b) / schilderijen
[Foto Stef Debrabander]
>kurt duyck (b) / schilderijen
[Foto Kurt Duyck]
>ian kesteleyn (b) / schilderijen
[Foto Ian Kesteleyn]
>carole vanderlinden (b) / schilderijen
[Foto Carole Vanderlinden]
>gerd ververs (b) / schilderijen
[Foto Gerd Ververs]
>frips & marc coene (b) / mail art call:
what about croxhapox?
presentatie van de meer dan 200 inzendingen
[Foto Mailart]

>tamara van san (b) / instalraam - Onderstraat 26 9000 Gent
15 november - 31 december
OPGELET: de eerder aangekondigde performances van Ilse Roman en Els Soetaert(15-17 november) zijn verschoven naar februari 2008.

[Logo Vlaanderen] met steun van de Vlaamse Gemeenschap
0479 - 45 37 79
0495 - 20 66 75
Om je uit te schrijven of je gegevens aan te passen, klik hier.

bericht verstuurd met poMMo.

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FW: Stop the epidemic of rape in Congo

Subject: Stop the epidemic of rape in Congo
Date: Tue, 20 Nov 2007 13:39:09 -0500

Dear David,

The New York Times and The Washington Post recently reported disturbing evidence of the increasing "normalcy" of rape in parts of the Democratic Republic of Congo (DRC).

Click here to tell Congress to pass the International Violence Against Women Act now.

Bob Fertik

Dear Friend,
According to the United Nations, reported cases of rape in the eastern region of the Democratic Republic of Congo (DRC) have risen 60 percent since August. The epidemic of rape and sexual violence is a humanitarian catastrophe in this war-torn country where more than 4 million people have died during years of conflict. We must take action now.
The good news is that on October 31, Senators Joseph Biden (D-DE) and Richard Lugar (R-IN) introduced the International Violence Against Women Act (S.2279), legislation that will significantly increase U.S. commitment to ending gender-based violence in the DRC and around the world.
We at CARE, a leading humanitarian organization fighting global poverty, have been working with local staff to eliminate the violence in the DRC for several years. Please help by contacting Congress today and telling them to pass the International Violence Against Women Act (IVAWA) immediately.
The urgency of the crisis cannot be overstated: "In the case of eastern DRC, the rates of these violations have risen to catastrophic levels and their increasing regularity and brutality over time is well documented," Kevin Fitzcharles, CARE's country director in Uganda, said in recent testimony to Congress. "Armed groups in eastern Congo are effectively using sexual violence as a weapon of war and destruction, inflicting grievous physical, psychological and social harm on women, children and entire communities."
The physical and emotional harm that these women and girls face is staggering. While the perpetrators of these horrific crimes simply move on to their next victims, violated women and girls rarely find the medical and psychological care they so desperately need. CARE staff has been on the ground in the DRC working to address the causes and consequences of violence against women and girls; however, much remains to be done to address this scourge.
Passing the IVAWA would be a major step toward ending the violence endured by Congolese women - and all violence against women. Please don't wait a minute more to write Congress about this crucial legislation.
Thank you.

Helene D. Gayle, MD, MPH
President and CEO, CARE


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Celebrating the Release of the Collected Poems of Philip Whalen

la Pell del LLavi presents "Terrorisme Poetic"//from Boek 861

Note: at the Boek 861 site you will find News in English as well as Spanish
La Pell del Llavi es un colectivo que entronca directamente con el mail art, la poesía visual y la poesia sonora. Y lo hace al más puro estilo experimental, absurdo e imposible, hasta el punto de que ha conseguido vestir al director del boek861 de monje benedictino en la Tardor Literaria de Tarragona
...//...quien, por cierto, ya tiene dos acólitos para su causa, Fray Marcelo y San Agustín Calvo Galán que contemplan admirados el aura del monje a punto de elevarse a las alturas. Y es que ese era el motivo del encuentro: dejar la corparalidad y el mostruo que todos llevamos dentro y traspasar los límites terrenales con un deseo
La convocatoria de mail art tenia como lema: EL MONSTRUO QUE TODOS LLEVAMOS DENTRO. Participaron varios paises. Se trataba de enviar una careta basada en este lema. En la imagen la obra de Isabel Jover
momento en el cual Agustin Calvo Galan deja su alma terrenal y el monstruo que lleva dentro transformandose en espíritu
Txus Garcia (Human Trush) coordinado de la Pell del llavi realizó una gran actuación polimorfica de poesia sonora vampiresca que puso la piel de gallina de los espectadores que, posteriormemnte, fueron succionados en la yugular.


flickr: LIGHT REMAINS --d-b Chirot

underradarimagesorigin 009

Anarkeyology made visisonic

Subject: [Flickr] - Hey! Come and see some of my photos!
> Hi,
> I want you to see my "Light Remains" photos! They're on a
> cool website called Flickr.
> Just follow this link to my photos:
> If the link doesn't work, try copying and pasting it from
> this email into your browser's address bar.
> See you on Flickr!
> chirOt zerO

200 photos | 26 views | Add a comment?

Photos are from between 14 Nov 2007 & 20 Nov 2007.

There is 1 Guest Pass to see this set.

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