Injustice Continues: Leonard Peltier Again Denied Parole
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
flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO
VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual
VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
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, August 23, 2008
New Extreme Experimental & Language Poetries: "The Manchurian Candidate" is Alive and Well: China Inspired Interrogations at Guantanamo----NY Times
China Inspired Interrogations at Guantanamo
By SCOTT SHANE
An interrogation class at Guantánamo Bay was based on a 1957 study of Chinese Communist techniques used to obtain confessions, often false, from U.S. prisoners.
Another example of the New Extreme Experimental American Poetry:
Using a 1957 Chinese Manual as it were, (based on surviving soldiers' reports) for instructing interrogators, the Americans claim that though they copied a Chinese Torture How-To Book, the Guantanamo-carried out copying of its teachings is "NOT torture."
This raises an interesting question: does the translation and copying of texts absolve the texts of the "evil" of the Original?
Does this mean that when the Chinese used the Manual it was "Real" torture, but when Americans use the translated copy, it is NOT "real" torture but a kind of "play acting"? A Simulation of torture being taken to be "not the same thing" as the Original?
Kind of like the "play acting" and "horsing around" that was photographed at Abu Ghraib? Which after all, was just "guys and gals having fun," and a sort of "Experimental Art Project Combining Performance and Photography"?
Interestingly, the same methods used in both the Chinese and American cases are also used by De programmers of followers of Religious Cults since the 1970's.
Might that not mean that what the Americans are doing is simply deprogramming, and not torture at all?
In Naomi Klein's book The Shock Doctrine, she links the use of the extreme methods used in shock therapies by an eventually CIA funded Montreal researcher with the "Shock Doctrine" of Milton Friedman's Chicago School Economics applied to "sick economies and nations" beginning with Pinochet's Chile and extending to the present day methods used in New Orleans, Iraq, Palestine, Abu Ghraib, Guanatanamo and hundreds of secret prison around the world. (The United States having over 700 bases on foreign soil has the immense capability of constructing the world's largest ever dreamed of prison and "deprogramming" network.)
Since these economic policies greatly favor only a small percentage of the population, "Democracy" has to be imposed by force and repression in order for the "Free Market" to flourish.
In order for the few to be "Free" economically of any of the bounds imposed on the great great many, torture, disappearances, mass murders become "necessary."
Since the Americans are bringing "Democracy" to the world, torture is no longer torture, but instead becomes "the necessary work of Freedom."
Despite the well known fact that torture hardly ever "gives up" information of much of any use, American policies Stand Tall behind the use of these methods. Since the Americans have claimed they are actually obtaining information that is "Making the Homeland Safe," they have thereby turned "useless torture" into "beneficial and useful methods of information gathering."
One of the goals of Shock Therapy, the Shock Doctrine and Shock and Awe considered as a Gesamtkunstwerk (Total Art Work)is to break down the "sick individual, the sick nation, the sick politico-economic structures" until the patient's identity, thinking and physical condition is broken completely down.
Once this "Ground Zero" of being has been reached, the work of Freedom can begin--the creation of the new being Freed from all its former sicknesses, eager and bursting with energy and joy to commence its New Life.
The New Life!! A kind of Zombie existence as an Obedient Servant, Worker, Slave, Soldier doing the biddings of the Masters unquestioningly.
From a "Voodoo Economics," one develops a Voodoo State in which the creation of Zombies out of former "troublemakers" becomes routine.
"Freedom" becomes the blessing of a New Life as one of the Living Dead.
The mission of the New Extreme Experimental American Poetry is greatly aided by the introduction of the Conceptual elements of Copied Manuals of Former Enemies. The "torture" of the original Chinese text is converted into an American "Radical Innovative Formalist Poetics" which rather than destroying Individuals in a Ground Zero Environment, instead raises them from the Death Cults of the Unfree ("Islamo-Fascism," "Terrorism," "Insurgency") into the Redemption of being among the Living Dead.
In short, what is being performed at Guantanamo really is NOT torture, but "de programming."
In a 1994 essay on "The Work of Poetry," the "Language" Poet Charles Bernstein concludes that the work of (a "radical, innovative") poetry is "social work."
"Dark at End" image from Charles Bernstein Blog
Poetry as social work becomes part of the American State's apparatus. To "do good" in the world in these terms is arrived at through a conversion of the language of poetry into one of a "public policy" in which "transgressions" of grammar, genre, tropes are practised in order to produce a "liberated reader" now "allowed to be the producer of her own meanings."
Since the methods used direct the reader into a realization of Language Poetry as the only True Writing, the meanings readers are so generously "allowed to make," will only be recognized as "good" if they conform to the template.
Guantanamo: Detainee being led to Language Cell for "Post-Deprogramming Re-Education"
The reader is "liberated' into a New Consciousness in language--one that reflects the Power & Glory of the Authorities and obeys unquestioningly, like the Zombies produced (or not) by the deprogrammers at Guantanamo Bay.
To question these methods and this Language is to question Freedom and must be eliminated, as an enemy of Freedom.
To be Free, one must become Unfree, unquestioning of Authorities and Authors, just as to be Alive means to be Undead.
The New Extreme Experimental American Poetry employs an Extreme Experimental Language in which readers are allowed to produce their own meanings because of the celebration of poetic "meaninglessness." Rather than becoming "radical, innovative" subjects, they are turned into the Zombie inhabitants of a Ground Zero
in which "insurgents," "terrorists," "enemy combatants," must all be "rendered" Null and Void.
Of course, Language Poetry, like the Americans' use of in effect a Chinese Manual, absolves itself of any "wrong doing," by the advocating of "non-referentiality." On the one hand, to change the grammar, syntax and sentence structures of language is supposed to change the world; on the other, not to employ referentiality means that the effects in the world are not "the fault of Language." Instead, the "evil aspects" are the fault of the Chinese or of the Government or of Mainstream Poetry.
This Language which is on the one hand "world changing" and on the other "non-referential" is an example of Orwell's double talk Newspeak, in which contradictory meanings are joined together in one word or phrase in order to cancel the contradictions and make once opposing terms be "equalized." "L=A=N=G=U=A=G=E literally spells out this idea. Using this "equalizing" method, one no longer questions the contradiction in "to change language is to change the world," when at the same time the world-changing language is "non-referential."
(Not to mention "meaningless," "non-narrative," "non-historical," "non-lyric self" --a series of negations turned into equal signs in order to produce the effect of "Changing everything so that nothing is changed.")
The elimination of contradictions produces a poetry which is at once "risk taking" and perfectly safe for being hired by institutions. A language of "resistance' which conforms to all the required State standards. A language of "radical" innovations designed to be the Feng Shui rearrangements of Office Furniture, the use of immense bean bag chairs a la Jenny Holzer for the laid back contemplation of the "resistance" of language as a Stadium sized light show. A language of "opaque surfaces resistant to transparency," not unlike the uses of "impenetrable bureaucrateese" to "cover up" things which the public demands to be made "transparent," in the name of holding accountable those responsible for crimes against humanity.
The New Extreme Experimental American Poetry is a project in which the analogies and inter connections of events in the world are considered in relation with the events in language. In order for persons to accept this "Free" America and the "Free World"
how much "unfreedom" in language is required? Is a world changing non-referentiality a method to "appear radical" while at the same conforming? A method for being "resistant" while at the same time not only accepting State institutions, but creating for them a language which will not "activate" physical resistance? A method in short, for creating a language which absolves itself and its users from any "responsibility" for which one might have to be held accountable?
That is, one's "resistance" being a matter of syntax, meaninglessness, non-referentiality, can it not be safely argued that one has not in any way interfered with the daily functioning of the State and all its institutions?
"Companies have recognized the fact that a more comfortable and less formal place to work actually encourages people to up their work rate as well as enabling creativity to flourish."
So it is that the methods of non-torture at Guantanamo are cleverly "non-referential" vis-a-vis an American text,as the referentiality in terms of torture was done by the Chinese and their text.
The further the distance created between "our language" and "theirs", the further "we" become "not like them." "Their torture" becomes "our non-torture." In poetry, "their mainstream poetry," is "not our radical poetry." To create these distances between "us" and "them," it is necessary to employ a language of denials, omissions, doubletalk, in which things that are contradictory are equalized and things that are the same are split open in order to claim the "difference between us and them."
Language becomes a method of convincing oneself and others that a world of appearances is "more real" than the world as it exists. In this way, one can ignore what is before one's own eyes, and cling to the persistance of illusions which are "signs taken for wonders" as Marx called them.
And in this way, censorships become ever more necessary--and disappearances, renditions, secrecy, surveillance, ever more prisoners, profilings, the propagations of propagandas disguised as "ethics" and the non-stop production of faked evidences, "news," "photos," and "recordings." All of these help greatly in the continual construction of distances in order to isolate a population and make it believe that the world is "what we make of it and call it." And that anyone who says otherwise must be a terrorist of some kind.
Arrival of flight carrying John Walker Lindh, the "American Taliban"
China Inspired Interrogations at Guantanamo
By SCOTT SHANE
An interrogation class at Guantánamo Bay was based on a 1957 study of Chinese Communist techniques used to obtain confessions, often false, from U.S. prisoners.
gONN TOURED THE qUAD cITIES AREA OF IOWA IN THEIR HEYDAY IN A HUGE HEARSE--
ONE OF THE ALL TIME FUZZ RAVERS WITH APOCALYPTIC "STORYLINE"
The Department of Homeland Security is studying how best to implement a little-noticed congressional mandate to gather, search, and store biometric data from all foreign visitors leaving the country. The objective is to collect better data on foreigners who violate the law while in the country or who overstay their visas.
Peace, Propaganda & the Promised Land
U.S. Media & the Israeli-Palestinian Conflict
Video - How Israel manipulates and distorts American public perceptions
Through the voices of scholars, media critics, peace activists, religious figures, and Middle East experts, Peace, Propaganda & the Promised Land carefully analyzes and explains how--through the use of language, framing and context--the Israeli occupation of the West Bank and Gaza remains hidden in the news media, and Israeli colonization of the occupied terrorities appears to be a defensive move rather than an offensive one.
Click to view
Posted: 23 Aug 2008 03:44 AM CDT
A Statement from the International Human Rights Workers Aboard the SS Free Gaza and SS Liberty, Sailing to Gaza
(10am, 23 August, 2008) At 10am this morning, the Cyprus team of the Free Gaza Movement was able to briefly speak with our people on board the SS Free Gaza and SS Liberty. They are all fine, and they asked us to release the following statement:
ACTION 1: I just made my donation as a expression of support, please consider making yours.
ACTION 2: Although Israel is jamming the communications with the boats, it is worth trying. Ask your local media to make phone contact with the ships. Satellite phone numbers available on the boats are: a) 00 870 773 160 151; b) 00 870 773 160 156; c) 00 881 651 442 553; d) 00 881 651 427 948.
Last but not least: Pray for their safety and success in their mission.
Free Gaza NOW!
Date: Sat, 23 Aug 2008 11:17:41 +0100
Subject: new John Held Jr. book
for more information about the book .. click on the cover
JOHN HELD JR. & MIKE DICKAU
"We'll Chop His Suey When He's Gone"
Homage to Ray Johnson
Number 23 in our collection for visual poetry,
experimental texts and works influenced by dada and fluxus
A6 format (10.5x15 cm / 4 x 6") - 40 pages
hardcover, thread and quarter cloth binding
laser printing on ivory paper.
price: 15 euro / 20 US $ / 10 UK Sterling each
order your copy by email
or subscribe to the collection
and receive each book with invoice.
No postage charged.
Francis Van Maele
Dugort, Achill Island, County Mayo, Ireland
FRANCIS VAN MAELE
Dugort, Achill Island
County Mayo, Ireland
WEBSITE - http://www.redfoxpress.com
BLOG - http://franticham.blogspot.com/
firstname.lastname@example.org or email@example.com
Tel.: 00353 - (0)98 - 43784
Recent publications: http://www.redfoxpress.com/new.html
Visual Poetry collection: http://www.redfoxpress.com/dada.html
Last mail art call: http://www.redfoxpress.com/salt.html
fairs and exhibitions:
University of Leeds, 11th Artist's Book Fair, 7-8 march 2008
Samwon Paper Gallery, Jung Gok, Seoul, 5 april-10 may 2008
Glasgow International Artist's Book Fair, 25-26 april 2008
Phoenix Gallery, Brighton, 27 april-7 june 2008
Seoul 5th Artists' Book Fair, 15-19 mai 2008
Galerie der Buchkunst, Gutenberg Museum, Mainz, 31 mai-1 june 2008
Seoul, Gana Space, Insadong, 3-9 september 2008
Frankfurter Book Fair, booth 4.1.L128, 15-19 october 2008
Small Publishers book fair, Conway Hall, London, 24-25 October 2008
Manchester; 2nd Artist's book fair, 8 november 2008
Get thousands of games on your PC, your mobile phone, and the web with Windows®. Game with Windows
Date: Sat, 23 Aug 2008 12:10:49 +0200
Subject: proyectos recientes boek861/ agosto 2008
SE PUEDE VER EN
SE PUEDE VER EN
DBChirot has shared a video with you on YouTube:Linton Kwesi Johnson
Date: Wed, 20 Aug 2008 08:22:01 -0400
Subject: Revista Ping Pong 8
por Frank Báez
por Frank Báez
Por Darío Jaramillo Agudelo
por Luís Chaves y William Eduarte
por Raúl Hernández
PEN WORLD VOICES FESTIVAL
Por Paúl Álvarez
Get ideas on sharing photos from people like you. Find new ways to share. Get Ideas Here!
Friday, August 22, 2008
Thursday, August 21, 2008
Wednesday, August 20, 2008
Mahmoud Darwish was born on March 13, 1942 in Al Birweh, Palestine, into a land-owning Sunni Muslim family. During the establishment of the State of Israel in 1948, his village was destroyed and his family fled to Lebanon. They returned the following year, secretly re-entering Israel.
As a young man, Darwish faced house arrest and imprisonment for his political activism and for publicly reading his poetry. He joined the official Communist Party of Israel, the Rakah, in the 1960s. In 1970, he left for Russia, where he attended the University of Moscow for one year, and then moved to Cairo. He lived in exile for twenty-six years, between Beirut and Paris, until his return to Israel in 1996, after which he settled in Ramallah in the West Bank.
Considered Palestine's most eminent poet, Darwish published his first collection of poems, Leaves of Olives, in 1964, when he was 22. Since then, Darwish has published approximately thirty poetry and prose collections which have been translated into more than twenty-two languages.
Some of his more recent poetry titles include The Butterfly's Burden (Copper Canyon Press, 2006), Unfortunately, It Was Paradise: Selected Poems (2003), Stage of Siege (2002), The Adam of Two Edens (2001), Mural (2000), Bed of the Stranger (1999), Psalms (1995), Why Did You Leave the Horse Alone? (1994), and The Music of Human Flesh (1980).
Darwish was an editor for a Palestine Liberation Organization monthly journal and the director of the group's research center. In 1987 he was appointed to the PLO executive committee, and resigned in 1993 in opposition to the Oslo Agreement. He served as the editor-in-chief and founder of the literary review Al-Karmel, published out of the Sakakini Centre since 1997
About Darwish's work, the poet Naomi Shihab Nye has said, "Mahmoud Darwish is the Essential Breath of the Palestinian people, the eloquent witness of exile and belonging, exquisitely tuned singer of images that invoke, link, and shine a brilliant light into the world's whole heart. What he speaks has been embraced by readers around the world—his in an utterly necessary voice, unforgettable once discovered."
His awards and honors include the Ibn Sina Prize, the Lenin Peace Prize, the 1969 Lotus prize from the Union of Afro-Asian Writers, France's Knight of Arts and Belles Lettres medal in 1997, the 2001 Prize for Cultural Freedom from the Lannan Foundation, the Moroccan Wissam of intellectual merit handed to him by King Mohammad VI of Morocco, and the USSR's Stalin Peace Prize.
Darwish died on August 9, 2008, in Houston, TX, after complications from heart surgery.
|A Noun Sentence by Mahmoud Darwish |
A noun sentence, no verb
|I Belong There by Mahmoud Darwish |
I belong there. I have many memories. I was born as everyone is born.
|I Didn't Apologize to the Well by Mahmoud Darwish |
I didn't apologize to the well when I passed the well
|In Jerusalem by Mahmoud Darwish |
In Jerusalem, and I mean within the ancient walls
|Sonnet V by Mahmoud Darwish |
I touch you as a lonely violin touches the suburbs of the faraway place
It is tempting to describe Mahmoud Darwish's writing life through geography and history. His early poetry transformed the dispossessed land into the unattained beloved whose images inform the poet's lexicon. The features of Palestine—its flowers and birds, towns and waters—became integrated in the poet's witness to the string of tragedies, political and humanitarian, that have continued to afflict his people. Yet, over the decades, Darwish's search beyond mere place never left him. Now, in his most recent poetry, translated in The Butterfly's Burden, his writing stands clearly at the border of earth and sky, reality and myth, love and exile, poetry and prose.
The long, circuitous journey Darwish has undertaken since his family fled his native Galilee to Lebanon in 1948 (when he was six years old) can be viewed as an odyssey. Mahmoud Darwish returned with his family to Israel months after its creation, where he grew up as a present-absentee who didn't return in time (from fleeing) to be recognized as an Israeli Arab. When he left for Moscow in 1970, he had already published four volumes of poetry and had known the Israeli prison system firsthand. His long life of exile had begun. One year later he moved to Cairo, and from there to Beirut. Ultimately, it was the Israeli invasion of Lebanon in 1982 that precipitated Darwish's pursuit for the sovereignty of song. Leaving Beirut to roam the Mediterranean (Greece, Cyprus, and Tunisia) proved heart wrenching for Darwish, who seemed unable, outside of his own writing, to survive another glaring mirror of exile, of dispossession. His long 1983 epic of the Beirut invasion, Praise to the High Shadow (Documentary Poem), and his 1984 collection, A Siege to the Eulogies of the Sea, depicted his woe, and addressed many of his close friends who had been killed or assassinated:
My friends, do not die the way you used to die
I beg you, do not die, wait another year for me
just one more year
we might trade ideas for walking on the street
free of the hour and the banner ...
we have other tasks beside searching for graves and elegies
In 1986 Darwish had just moved to France and published two poetry collections and his artistically brilliant prose memoir of the siege of Beirut, Memory for Forgetfulness. In the first of these poetry volumes, he declared his aesthetic in the title It's a Song, It's a Song: "Nothing concerns it other than its cadence; a wind rising for itself to rise / and a fragility that checks in on the human within his relics." It was "Time the poet killed himself," he said in another poem from the same volume, "not for a reason other than to kill himself." And pressing deeper, "Where is my humanity?"
The other collection from the same year, Fewer Roses, was less dialectic than its predecessor. Composed of fifty-one short lyrics (ten long lines each), Roses confirmed Darwish's ripe resolve to shuffle cadence, voice, and dialogue, and to maintain a transformative, restless art, as though it were borne by gusts. Darwish had discovered the necessity for perpetual renewal of his poem: a song that anchors long enough to know itself, its reason for jubilance, before departing toward another reading, another writing. This conjuring of the phoenix from the latest, cooled-off ashes of exile would become a signal for an idea of return, a sublime aesthetic of resistance that Darwish would revisit in his work: a phoenix in search of its butterfly.
Around 1988, during the first Intifada, Darwish was a member of the executive council in the Palestinian Liberation Organization (PLO). Along with Edward Said, he was assigned the task of drafting a new charter toward peace. It was a prickly and odd time for Darwish, "for what is a poet doing there, there in the executive council?" he asked himself. In an essay titled "Before Writing My Resignation," Darwish became uncomfortably aware how "the creative Palestinian is prohibited from the luxury of vacated and dedicated time for the sake of creativity, because this is bound to a direct cessation from patriotic activity. Yet prisoners grow flowers in their prison yards. And in front of the zinc huts mothers plant basil and mint. The creative person must create his flexible margin between the patriotic, the political, the daily, the cultural, and the literary. But what am I to do? What does a poet do in the executive council? Will I be able to write a book of love when color falls on the ground in autumn?"
Some time had to pass before Darwish would answer his question about a book of love. The first Intifada was another phoenix upon whose wings the poet soared higher and higher. This time Darwish was facing, as he had done before, a quintessential predicament for the poet: how to carry the "I" of the "we" without betraying one perception for the other. The result was two great epics of collective memory that display Darwish's mastery of the long poem. In I See What I Want (1990), he captured what is mythic and visionary about return, oscillating between, on the one hand, the dream of "a stone scratching the sun" and, on the other hand, shedding "the skin of the earth" and flying "just to fly. " Eleven Planets (1992) expounded collective memory by invoking the voices of ancient and contemporary peoples. In it Darwish strewed the seeds of a universal voice—beginning with the Andalusian, sailing across the Atlantic to evoke the Native American, moving back in time to the Canaanite and the Greek, and ending with an Iraqi poet.
Perhaps it was what Darwish needed: to consume his self in the "we" of the "I" before leaping toward a new liberty. This emancipation came in 1996, following the bitter failure of the Oslo accords (over which he resigned from the PLO). He published his luminous, highly personalized account of place and nonplace: Why Did You Leave the Horse Alone? is where the longtime courtship between self and other in his poetry crystallized into mystical union. That was the year the poet came home. After twenty-six years of exile from his native Galilee, he returned to Ramallah. There, he completed The Stranger's Bed (1998), his book of love, the first of the three books translated in The Butterfly's Burden. When, so soon after his return, The Stranger's Bed appeared, many readers were ambivalent about—some alienated by—a book of love. Perhaps many expected a glorious eulogy for the new Palestinian state yet to come. They had often imagined his poetry as their love poetry, but here he was singing about love as a private exile, not about exile as a public love. Eventually readers embraced the book.
The Stranger's Bed is a journey of, and through, voice. There is a delicate speech that gives birth to itself here. There is an "I" that overflows from the "you, " and a duality that merges beyond the narrow constructs of language. There is dialogue between masculine and feminine, prose and poetry, self and its others.
Not enough can be said about the metaphysics of identity in this book of love. An appeal to healing begins the collection: "We came / with the wind from Babylon / and we march to Babylon, " "Am I another you / and you another I? " "Then let's be kind." The subtle dialogue between tone and cadence in poems such as "Low Sky" and "We Walk on the Bridge" ushers the tender musical exchange throughout the book, where even the mythic can be treated with "one cup of hot chamomile / and two aspirins. " And the sonnets—a stranger's template for another's vernacular—develop the spine that gives the book its sway as man and woman, poetry and prose, commune with each other. Duality (or the annihilation of it) becomes "the necessary clarity of our mutual puzzle. " In many respects The Stranger's Bed is a conversation that, once begun, compels the reader through to its last utterance, uninterrupted, where the Familiar and the Stranger become "two in one." Arabic love poetry is a primary wellspring here. Whether in the Jahili night, in Majnoon Laila and Jameel Bouthaina fourteen centuries ago, in a Sufi east or and Andalusian west, it has always had its roots in an exile that slackens the bind to "the gravity of identity's land."
One year after the publication of The Stranger's Bed, Darwish would have died from a sudden illness, had it not been for a lengthy stay in intensive care. Subsequently, he wrote his Mural (2000) as if it were to be his last work. In it he celebrated life: "Green is the land of my poem, green and high." "I have defeated you death of all the arts. I have defeated you." "One day I will become what I want." "And I want, I want to live." Soon he began developing a more colloquial and conversational breadth in his writing. Then the terrible events of the second Intifada erupted. He was in Ramallah, and immediately found himself looking another Palestinian death in the eye, living another siege.
Comprising lyrical, journal-like entries, A State of Siege (2002) is witness not only to human suffering but also to art under duress, art in transmutation: "Our losses," Darwish says, "from two martyrs to eight ... / and fifty olive trees, / in addition to the structural defect / that will afflict the poem and the play and the incomplete painting." It is difficult not to draw a parallel to twenty years ago, when the siege of Beirut exalted the poet to search for what's beyond the siege. "Besiege your siege" was his famous cry in 1983's Documentary Poem. Now he repeats the same words as a quiet but resolute one-line address "To poetry." In the end, it was "the butterfly light, in / this tunnel's night" that guided the poet out.
Similarly, the forty-seven short lyrics of Don't Apologize for What You've Done (2003) are yet another incarnation/incantation of the poet after the carnage, just as Fewer Roses was seventeen years earlier. These lyrics ("In the Lust of Cadence"), however, are more varied in pace, tone, and music, grouping more distinctly into twos and threes or more, in dialogue with one another. They begin by reintroducing the self, weaving through place and time, constantly looking for a new powerful center, as in the stunning pentad of death that begins with "They Don't Look Behind Them." After that, "Cadence" continues its colloquial leap, often with refreshing and playful attention to the daily and the ordinary. Darwish then concludes his "Lust" in a wonderful hovering over the body of his exile, through another pentad sequence that lands him, once more, into the twins of exile and experience, poetry and Iraq.
The beautiful poems that constitute the latter part of The Butterfly's Burden epitomize, in their discursive and lyrical conversation, the rich, incessant metamorphosis in Darwish's oeuvre. In them language is loosened from being "an adjective of place," and this language wants "from the thing only the transparency of the thing." In further contrast to the poems of 1984, language also takes "revenge on absence." Yet, whatever the transfigurations may be in Darwish's poetry, and however tempestuous the calendar of his writing life, reading Darwish has always the constant of passage through his private vocabulary. It probably would take pages to catalog the words that recur—and how they recur—in his poems: anemones and lapis lazuli, gazelles and clouds, almond blossoms and rivers, mirrors and windows, abyss and olives, endlessness and its infinite chores ...
From the "Translator's Preface" of The Butterfly's Burden (2007) by Mahmoud Darwish, translated by Fady Joudah, published by Copper Canyon Press. Copyright © 2007 by Mahmoud Darwish. Translation and preface copyright © 2007 by Fady Joudah. Used with permission of Copper Canyon Press, www.coppercanyonpress.org.
How I Fought to Survive Guantánamo By Patrick Barkham
ZERO POEM viSUAL sCORE/sOUND pERFORMANCE WITH THANKS TO GLEB KOLOMIETS
many thanks to Gleb more than i can say and i hope some of you may enjoy this--
Here are the links:
- On RuTube:
- and a copy on YouTube:
3 BOOKS APPEARING "SERIALIZED" AT THIS VENUE
download the poetry-generating software Gnoetry0.2
Slides shows: Iranian Street & Grafitti Art -Photo Stream: Multimedia Artist A1One's Work
the 2 above slides shows are of Iranian Street and Graffiti Art;
the one below is the photo stream of Iranian multimedia artist A1One
Kohla Studio & various artists have hosted major International exhibitions of Sticker Art and related forms of Steet Art--Stenciling, Painting, Skate Board Art--
The New Extreme Experimental American Poetry & Arts--Necessity is the Motherfucker of Invention
--Pier Paulo Pasolini
To degenerate as a result of the use of torture, & by its concealment & deception question human dignity & individual rights--
In the first lines of his Introduction to Torture: Cancer of Democracy France and Algeria 1954-62, Pierre Vidal-Naquet asks "Can a great nation, liberal by tradition, allows its institutions, its army, and its system of justice to degenerate over the span of a few years as a result of the use of torture, and by its concealment and deception of such a vital issue call the whole Western concept of human dignity and the rights of the individual into question?"
To fit in with the change of events, words, too, had to change
In The Peloponnesian War, Book 3, Thucydides states:
"To fit in with the change of events, words, too, had to change. What used to be thought of as a thoughtless act of aggression was now regarded as the courage one would expect to find in a party member; to think of the future and wait was merely another way of saying one was a coward, any idea of moderation was just an attempt to disguise one's unmanly character; ability to understand a question from all sides meant one was totally unfitted for action; frenzied violence came to be considered an attribute of a real man. "
Necessity is the Mother of Invention
These entries are ongoing found materials with which one works on various projects. They are an Anarkeyology of Site/Sight/Cites in which, by relinking the Military & Art meanings of "avant-garde," are found different ways of investigating separations, Walls, silences, distranslations, forgeries, torture, "Newspeak," censorship and propaganda as elements common to both war and writing/art historically & in the USA & Globally today.
The finding of these materials and the questions they open are, I find, "necessary," as the Formal separations of the American "avant-gardes" from the Military & external/ internal imperialist realities that are among the "symptoms . . . in language" that Pasolini notes "we (have) to go on."
Separations in, of, and by language are "necessary" to Vidal-Naquet's "concealment " of "torture, cancer of democracy," whose "deceptions" erect barriers, Walls, prisons, "Security," Surveillance between not only the torturers and the tortured, Occupiers and the Occupied, but between actions and words, so that a culture conceals itself from itself.
Materials & questions that are "necessary" to examine separations, concealments, deceptions that are "necessary"--
and are Hidden in Plain Site/Sight/Cite
"Necessary"--to find among the "fictional" and the "factual," among street debris and the debris of Poetry, Writing & Arts, Street & Protest Arts and Actions, News Reports, Torture Documents , Prisons . . . the" failure to communicate" that haunts the Prison //Security//Surveillance System of Cool Hand Luke's"Boss Keane's Ditch" and daily covering more of the world. These interconnections and relinkings, the symptoms in language, is a work found by what I call "Necessity, the Motherfucker of Invention."
In The Moro Affair, Leonardo Sciascia writes:
"Indeed when the truth which had been confined to literature emerged harsh and tragic within the context of everyday life, and could no longer be ignored, it seemed as if it were a product of literature."
This "truth" " is something so "obvious"that it becomes treated as a separation, a "fiction," rather than a "real, true fact."
To work with the "Hidden in Plain Site/Sight/Cite" can in this way be considered a "fiction," compared to the "reality" of a Formal Separation which is "immune to these things."
Sciascia notes the "Hidden in Plain Site/Sight/Cite" in using an expression from Poe's "The Purloined Letter:"
"(W)hat we called the invisibility of the obvious . . . (from Poe's Dupin) . . others have called over-obviousness . . . an obviousness linked to other obviousnesses , all of them conforming to a . . . concept of the clandestine."
This "invisibility" is separated from the "real, true fact," which the account and appearances of events create as the version that is "believed" to have occurred.
Sciascia quotes a dictionary:
"One says: a real true fact. and such like. Real in this case seems to reinforce true, not simply as pleonasm but thus: a real true fact hasn't simply occurred but it has occurred as it is told, as it appeared, as it is believed . . . "
The separation of "what is told, as it appeared, as it is believed" from what is "the invisibility of the obvious" allows for the concealment and deception Vidal-Naquet writes of.
The entries here may be read as the raw materials of
as an examination of these separations, symptons in language, and finding ways to link them in the term common to the military & ar t"avant- garde" in Necessity the Motherfucker of Invention's "New Extreme Experimental American Poetry& Arts.
"Waterboarding"--Brief History of a Word, a Practice
Visit/Join Palestinian Mothers on Facebook
Edgar Allan Poe at 200--19 January 1809-2009--Slideshow--
I am a member of IUOMA--International Union of Mail Artists
- ► 2010 (4101)
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08/17 - 08/24
- New Extreme Experimental & Language Poetries: "The...
- GONN--"BLACKOUT AT GRETELY"--mONSTER 60'S GARAGE...
- Collecting More Data on Foreign Travelers : PROJEC...
- KLEBNIKOV CARNAVAL kESSEL-lO "gRAPES OF aRT & vIL...
- Torture Inc. Americas Brutal Prisons Video Report
- Peace, Propaganda & the Promised Land U.S. Media...
- Free Gaza Boats Under Electronic Piracy
- aa flickr set--
- The Longest Walk 2 goes through Taos
- new John Held Jr. book from REDFOXPRESS
- proyectos recientes boek861/ agosto 2008
- video: shandels --- "gorilla."--Garage Punk Brut!!...
- video: Linton Kwesi Johnson "Street 66" from LKJ ...
- video: "Scientist - Drum Song Dub" Righteous Dub-...
- video: "Interpreter speaks about largest raid in U...
- video: Bards-"Alibis" Great Sixties Punk
- Revista Ping Pong 8
- video: "Makin`Deals" - Satans--the Faustian Garage...
- "I Want You" - Thorns--Garage Punk of the Sxities-...
- Mahmoud Darwish----by translator Fady Joudah -- f...
- video: "Linton Kwesi Johnson: Marxism 2008: Cultur...
- video: "Iowa town turned into open-air prison-2/2"...
- video: "Iowa town turned into open-air prison-1/2"...
- Invasion of the Body Snatchers--great editing of t...
- Found Hidden in Plain Site/Sight/Cite--rubBEings, ...
- Celebrate life and works of Mahmoud Darwish Sat. A...
- Video: Argentina:--Cocaine Residue Floods Slums--f...
- Detention in America Should Not be a Death Sentenc...
- U.S. town turned into an open-air prison
- Nicanor Parra habla sobre los origenes de la antip...
- Dub video: "GOOD,BAD & THE UGLY"
- "Those Who Lay the Foundations are Forced into the...
- Architecture and the Russian Avant-garde Part 1: ...
- The Japanese Avant-garde after David Burliuk
- imagen de vallejo
- US Naval Forces Buildup in Gulf//Stop War on Iran ...
- Klaus Kinski reads Villon
- Band of Gypsys - Machine Gun 1
- randy alvey - green fuzz (great paranoia song)
- Aelita 1920's Russian Sci-fi film extract
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- Alien Speech Found in NASA's Saturn Radio Signal
- Evidence Apollo 11 found UFOs that were waiting fo...
- The Insect's Christmas 1913
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- Blind Willie Johnson---"John the Revelator"--Great...
- ANERA Update | Back from Gaza, West Bank, Lebanon ...
- Don Cherry--Live in Bombay 1978
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blog entries-----Palestinian Poetry & Poets--
Thursday, May 28, 2009
Wednesday, May 27, 2009
Palestinian Poet/Souvenir Seller Taha Muhammad Ali: life told as “My Happiness Bears No Relation to Happiness,” a biography by Adina Hoffman.
Protesting the Israeli security forces’ disruption of PalFest
Tuesday, May 26, 2009• Video: PalFest 2008: John Berger Reads Ghassan Kha...
Palfest 09: Culture vs. Power: (w/video) "to confront the culture of power with the power of culture."
Monday, May 25, 2009
- Monday, May 25, 2009
Video, article: Armed soldiers, police, attempt to shut down Palestine Festival of Literature opening nigh
Friday, April 17, 2009
Thursday, April 09, 2009
Friday, March 20, 2009
Organize Against Military Aid at National Marches, Campus BDS Tour, Israeli Apartheid in New York Times, and More! | Occupation
Wednesday, March 11, 2009
Letter & Links for Linh Dinh: The " New McCarthyism" & American Sheep Sleep--w/Visual Poetry & Fotos—
Tuesday, February 03, 2009
Saturday, January 17, 2009
Thursday, January 15, 2009
CHECK THIS OUT--A Unique & Extraordinary Poetry--How beautiful it is to kill, how just to die--Santiago ALBA RICO
Wednesday, January 14, 2009
AGAINST THE WALLS OF SILENCE--2006-2009--Selections of Visual Poetry--Posters--Fotos-Postcards For Mail Art/Visual --Poetry Calls 2006-2009 by DBC--
Saturday, January 31, 2009
Tuesday, January 20, 2009
Thursday, December 18, 2008
An Anarkeyology of Social Geography-- Elisee Reclus, Feneon The New Extreme Experimental Poetry & "Faits Divers de la poesie"
Wednesday, September 03, 2008
Sunday, August 31, 2008
Saturday, August 23, 2008
2nd Palestinian Festival of Literature Jerusalem 2009--Links to Connect With
Palfest 09: "to confront the culture of power with the power of culture"
Today, my friends, we saw the clearest example of our mission: to confront the culture of power with the power of culture.Despite attempts to prevent the sharing and transmission of culture, Palfest is using all the communications tools at its disposal to reach out -- for videos, photos, blogs and other Palfest updates go here. Here's a video from the opening night:
"GITMOS ACROSS THE USA"--SEE SIDEBAR FOR ARTICLES & LINKS
TAKE ACTION--HELP GAZA
Israeli forces ended their offensive against Hamas in Gaza on Saturday, 17 January, following the declaration of ceasefires by Hamas and Israel.
Highlighted below are some of the main buildings identified as destroyed or damaged in Gaza City and the surrounding area as of 16 January, when this latest satellite image was taken.
The image, taken for Unosat at the United Nations Institute for Training and Research, has helped researchers identify at least 566 destroyed or damaged buildings.
The map below shows the main areas attacked in the three weeks of violence.
Palestinian medical sources say more than 1,010 Palestinians were killed in the violence, which began on 27 December 2008. Israel says 13 Israelis died, including 10 soldiers in the campaign and three civilians killed as a result of rocket fire from Gaza.
NO MORE BLANK CHECK FOR ISRAEL! Plz Sign..
Urgent action by the UN General Assembly is warranted and possible.
Israeli impunity must be ended by the collective action of the world community - Plz sign
Some websites on Iraq
Interesting websites on Iraq
Photographing in Iraq:
Waiting for the Guards--extreme performance artist troupe enacts interrogationscenes for real
Waiting for the Guards highlights interrogation techniques used in the 'war on terror'. The film was made using members of the extreme performance artist troupe who enacted the interrogation scenes for real. The film demonstrates the so called Stress Position and is the first in a series of films focusing on different 'enhanced interrogation' techniques. For now the film is an exclusive for the web, before a theatrical release in independent UK cinemas in early 2008. We believe that the film is a great introduction to the unsubscribe movement, so we ask you to get the movie out there, in any way you can. The more people who will see it, the more people will be compelled to unsubscribe.
Anarkeyology of Vision: from Paul Virilio Forward to his "Negative Horizon"
GITMOS ACROSS AMERICA--DETENTION & DEATHS ARTICLES & LINKS
Immigration detainees and their families lack basic ways to get information when things go wrong.May 5, 2008N.Y. / RegionNews
ARTICLES ABOUT IN-CUSTODY DEATHS
After the deaths of two immigrant detainees, a review of the cases prompted recommendations for faster reporting of deaths and better sharing of information.July 3, 2008
The government should be rushing to improve the oversight and care in its sprawling detention system to protect all detainees.June 11, 2008
The immigration detention process is subjected to little oversight or accountability.May 24, 2008
It is increasingly difficult to pry records that should be open out of federal agencies.May 11, 2008
A bill would require the secretary of the Homeland Security Department to report all deaths in immigration detention within 48 hours to the Justice Department's inspector general as well as its own.May 7, 2008
As authorities continue rounding up illegal immigrants in these harsh days of ever-stricter enforcement, the potential for abuse will grow largely out of sight.May 6, 2008
Immigration detainees and their families lack basic ways to get information when things go wrong.May 5, 2008
The Senate immigration bill that is lumbering toward final passage is overloaded with provisions that will make life harsher and more unfair for immigrants.June 27, 2007
Lawmakers and government investigators are examining deaths of immigrants who die while in custody as immigration detention system swells to meet demands for stricter enforcement of immigration laws; family members and advocates have difficulty getting information about those who die in custody of immigrant detention, patchwork of federal, private and local facilities; new Immigration and Customs Enforcement report finds that 62 immigrants have died in custody since 2004; immigration officials ...June 26, 2007
Questions are being raised about the treatment in jail of a detained immigrant who hanged himself.February 23, 2007
A case before a federal court of appeals has linked the Bush administration's methods of interrogating prisoners to a sharp change in the standards of humanitarian law at home.March 11, 2005
Edwin Bulus, who fled Nigeria after members of family were jailed for allegedly plotting coup against military regime, has been detained by Immigration and Naturalization Service since arriving at Kennedy International Airport in May 1995, and his treatment has sometimes been harsh; is accused by Federal Government of entering country with false documents, and has since been denied parole while request for asylum is pending; asylum advocates describe handling of case by immigration service as K...April 1, 1997
SEARCH 12 ARTICLES ABOUT IN-CUSTODY DEATHS:
Explore a Detention Watch graphic showing the locations of immigration detention facilities across the country.
Deaths in Immigration Detention Navigator
A list of resources as selected by researchers and editors of The New York Times.
Sources for Facts and Data
- U.S. Immigration and Customs Enforcement
- Federal agency in charge of detaining immigrants for deportation.
- Yearbook of Immigration Statistics
- Government data on foreign nationals in the U.S.
- House Judiciary Subcommittee on Immigration, Citizenship, Refugees, Border Security and International Law
- Congressional oversight on immigration issues.
Legal Advocacy Groups
- Immigration Agency's List of Deaths in Custody
- "Detainee Deaths 2004-November 2007," compiled by Immigration and Customs Enforcement.
- Congressional Hearing on Detention and Removal: Immigration Detainee Medical Care
- Transcript and video of House Judiciary Subcommittee hearing on Oct. 4, 2007.
- The Prepared Testimony of Edwidge Danticat (pdf)
- An author and niece of a deceased detainee testified before the congressional hearing on detention on Oct. 4, 2007.
- Woods v. Meyers (pdf)
- Class action lawsuit brought by immigrants against ICE, June 13, 2007.
Other News Coverage
- 2005 Visual/Electronic Poetry Exhibit Catalog--Excellent
- A.1. Mail Art Archive/Michael Leigh
- Abandoned Buildings/Sean Bonney
- Acetone Bi-lingual Spanish Music Magazine
- Alain Satie Lettriste Site
- Annees Vinyl 40s-50s-60s Music Videos
- Anny Ballardini's Fieralingue/Poet's Corner
- Artpool Mail Art
- bentspoon/Ross Priddle
- Boek861 Huge Visual Poetry/Mail Art Site
- Brainstorm Stickers, Stencils, Street Art Magazine from Iran
- Brazilian Art & Poetry on Web--Great Site/200+ links
- Buz Blurr's Blog
- Calamari Press/Derek White
- Catalan Arts/Poetry/Visual Poetry/Performance/Events Site
- Congolese Hip Hop in France
- Crashtext/Xavier Stern
- Denis Charmot Mail Art
- El Museo del Barrio(NYC)
- Electronic Lebanon
- Fluxuations CD Anthology w/"Zero Poem"
- Friour Earth Charter Blog/Guido Vermeulen
- Frips Mail Art Blog
- Galatea Resurrects #3
- Geof Huth
- Giornale Nuovo
- Good Lettriste Site
- Grafitti Stencils in Mid East War Zones
- Gruppo Sinestetico
- Hip Hop CD By Parisian Rioters
- Hugo Pontes' Communicarte
- Infoshop Indy News/Anarchist Links
- International Dada Archives
- Iran Grafitti Report>
- Iranian Underground and Basement>
- jasminrougeracai/Thierry Tillier
- jcsynthetics blog
- Kiyotei's Mail Art Blog
- Kris Rzepka
- Laurent Herrou & Jean-Pierre Paringaux
- logolalia/Dan Waber
- Lonely Street Gene Vincent Fan Club Francophone w/Videos-great!
- Luc Fierens & Annina Van Sebroeck
- Mines Advisory Group/Dismantling Weapons
- minimum daily requirements/Jukka Kervinen
- Mumia 2000 Org
- nonlinear poetry
- Official Lettriste Site
- Paul Tiilila
- Photostatic Mag Retograde Archives
- Pierre Joris Nomadics
- po-X-cetera/Bob Grumman
- Portuguese Visual Poetry
- Rad Rides Top Show Cars by my Cousin Troy Trepanier
- Roland Sabatier Lettriste Site
- Ruud Janssen's Great Mail Art Blog
- Signal/Miroljub Todorovic
- Sleepingfish/Derek White
- Slobodan Skerovic
- Slowforward/Marco Giovenale
- Spell Magazine
- Sztuka-Fabryka/Geert De Decker Mail Art
- Tetherline/Drew Kunz
- textimagepoem/Jim Leftwich
- Thierry Tillier
- tonerworks/Reed Altemus
- Track Authorities/Drew Kunz
- USS Liberty Documents & Sailors' Statements & Info
- Vortice Argentina Visual Poetry & Mail Art
- William James Austin/Blackbox