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, February 27, 2010

Chirot: brief review of Sciascia's Open Doors and Three Novellas by Leonardo Sciascia

Chirot: brief review of Sciascia's Open Doors and Three Novellas by Leonardo Sciascia

Open Doors and Three Novellas
by Leonardo Sciascia

For Barry Schwabsky, with Friendship and Thanks--

Leonardo Sciascia is, for me, one of the great writers of the 20th century. His novellas and extraordinary readings of documents—such as The Moro Affair w/ The Disappearance of Majoranna--in a one volume edition from NYRB Press-are among the most profound examples of what can be achieved by creating simultaneous theorizing/fictions/investigative writing that, along with the subject matter, are essays on writing itself, via meditations on the works of other writers.

Like Borges and Bolano--albeit refraining from using fictional writers among the examples chosen--Sciascia makes of literature itself the primary concern in examining fictional/theoretical//historical texts, events, personalities, all of which participate in a complex and intensely compelling interweaving of points of view which plunge the reader into ever wider and deeper vistas of ambiguity and conspiracy. Conspiracy and ambiguity--appropriate subject matter for a Sicilian author indeed! These vistas open into a continually expanding concept of the ways in which Power functions conspiratorially not as a concealed agent, but one operating like Poe's Purloined Letter--hidden in plain sight, yet, as seen by the method of Poe's detective Dupin in that story--from a vantage point of plunging oneself into total darkness, so that what emerges, "develops" as a foto in a darkroom, are precisely things illuminated by the energy of "shedding light" from themselves and "picked out" in the darkness, so that when light is shed by an outer source--"plain as day"--the object remains as clear as when seen in the darkness in which the detective has closeted himself for his inductions. As Paul Celan wrote: "Poetry no longer imposes itself, it exposes itself."

The four novellas in this collection include some set in the Fascist Era of modern Italian history. This era provides the background for the sense of the out in the open conspiracies which reach directly in to the future of the events in The Moro Affair, during the waning years of the Christian Democrat -Mafia alliance.

As in many of Bolano's works, which provide compendiums of Chilean literature since the birth of that nation, Sciascia's continually refer to and quote from the Sicilian and Italian poets and writers whose work is created since the time of Italy's emergence/creation as a Nation. Writing itself is examined from the collusion between poetry, prose, reports, documents and Power in its most open acts of torture, betrayal, murder, kidnapping--the Nation operating as Terrorist aided by its own collusion between the mafia and bureaucratic departments-within-departments-within departments, leading to the disappearance of the guilty parties as they themselves disappear citizens and those persons in/of power who need to be "disposed of."

The title of the collection, after one of the novellas, "Open Doors" indicates the multi-layered ambiguities contained within even such a simple phrase and concept. A creation of Mussolini’s Fascist Regime and its propaganda actions and sloganeering, "Open Doors” implies a state of trust and security--both of which, trust and security, imply their exact opposites--hence the sense pervasive in much of Sciascia's work that language itself is--after a quote from Pasolini-- the symptom offering the "Open Doors" into those regions in which, as Sciascia notes re Moro's change of use of the opaque vocabulary he has created as his own rhetorical domain of power, a language which had initially been meant to conceal, to refute interpretation, and which now has to be used to reveal, to open the doors into those behind-the-scenes-behind-the-scenes labyrinthine machinations of Power when it abruptly turns on its own "master." The Red Brigade kidnappers' own terror is turned against itself by the State Terror which has--historically, since the Terror of the Jacobins during the French Revolution--preceded and often created as its own weapon precisely such groups as the Red Brigades, themselves possessors of a rhetorical opacity rivaling Moro's.

Indeed, in the novella "Death and The Knight," a new terrorist group is named The Generation of 89--which can be read as referring to those coming of age in 1989--or as a direct reference to the bloody French Revolution of 1789. This would mean that The Generation of 89’s own originary source and example of the uses of Terror would be the period of the Jacobin’s use of the Terror as the preservation of that other Pillar of Power—Purity. (According to Robespierre’s formulation Purity and Terror are the co-actors and conspirators in maintaining the ongoing forces of energy let loose by the “Generation of 89.”) The consequent ambiguity of which particular 89 is being referred to—is not simply either/or considered as possibilities but both/and also. Since the initial action claimed by the 89 is the murder of a powerful political figure, a further ambiguity requires consideration and investigation: are the 89 created to carry out this act as their founding "manifesto," not by themselves, who ever they are, but by the government itself, so that the 89 may be read as an even more terrifying Power and Terror, that of the State itself operating “hidden in plain sight” to rid itself of opposition--

Power itself is examined as language--is language the creator of Power, or vice versa?—Or both at the same time?—Are the two simply the same of each other, a series of self reflecting reflections, an endless hall of Mirrors--?----as in Moro being forced to use his own opaque rhetoric of power as a method of revealing the power which is manipulating both himself and the Red Brigades--

This being forced to speak, forced to write, is for a contemporary Russian artist precisely the fascist nature of language itself--that language does not mean to be censored, silenced, but is forced to speak, as the victim is under torture.

Given his subject matter, fictional and/or historical, Sciascia's work and its concerns provide in themselves excellent methods of examining what has been happening to and with language, for example, in the USA, since the Reagan Era, but now carried to ever greater extremes by the events of 9/11 2001. The emergence of an ever more intensified public rhetoric of Power by means of the escalation of violence in language as well as in War seems to be something "already written" in Sciascia's work in much the way that he considers the kidnapping of Moro as an event to be in itself an "already written" text. This "already written" indicates not only an elaborately pre-planned series of events, but also the scripts of different order, in which Power writes not only its own parts, but those of the Red Brigades, the Press, the Pope, the Mafia, of everyone that is, except for Moro--just as in "Death and the Knight" it is the Deputy Police officer, in continual pain and dying--who begins to see as in a glass, darkly, those emergences of light in the manner of Dupin’s closeted inductions--

Sciascia's works are among the most exciting to read of any language’s contemporary writing in the manner that Bolano's are, except that Sciascia himself is part of the already written nature of his writing in that as a Sicilian member of the government, his roles are continually making demands on language which most writers eschew--that of, like Moro, making himself understood in a language which is intentionally designed to make oneself incomprehensible. Language functions then as both the cop and the fugitive, with the roles becoming ever more entangled, and the writer, at the heart of the struggle, continually using literature as an instrument of both self-defense and attack on language, reflecting the roles and ways in which those in Power seek to do so. Language, literature, are presented not as isolated, separated from events, as is so often the case in the Formalism of so many contemporary American conceptions of writing and poetics--but as the creator and actor of events on a scale threatening to Power itself, not unlike the “part” of King Richard the third in Shakespeare’s tragic play of that name.

Indeed, language, literature, at even their most contemplative are regarded as actions, as events themselves which challenge those very events which themselves appear to be "already written" and hence "meant to be," and "meant to be read” on only their own terms. Opacity, such a valorized concept in American poetics as a form of private anti-transparency, while al the while demanding of Power that it be "transparent" is shown by Sciascia to be itself the most transparent of all strategies of concealment, while that which is, like Poe's Purloined Letter, hidden in plain sight, is considered to be a concealment of concealment itself--is in fact that most obviously hidden in plain sight--all of which, as Sciascia remarks, creates the evidence of evermore forms of obviousnesses as ever more variations on concealment due to their “over-obviousness.” .

For an American reader today, especially, I find Sciascia's writing to be of the utmost excitement and concern in a culture which continually attempts to conceal from itself what is in fact "right before its very eyes." Another great excitement in the events which Sciascia presents and dissects, comments on, is the continual presence of writing, of literature as itself a living event, presence, in the very heart of historical events and presences, presentations. Writing as action, as thought and allusion, as quotation, as fiction, as evidences, as a method of interrogation and questioning is very rarely endowed with such a profound sense of "playing with Power" as a “terrorist” and powerful opponent. That language itself is considered as both co-conspirator and opponent to Power only adds to the heightened sense of struggle over what actually is being the text "already written"--

For myself, Sciascia is a never ceasing joy and inspiration, a brilliant example to read, as he makes writing truly vital in a way which no other contemporary author I have read does with such subtlety, dark humor and grace. His is a harsh, terse Sicilian lyricism which throws an intense light on those things themselves already so well lit, so obvious, that they can only be perceived by being seen in the darkness



“Junk is not about kicks. Junk is a way of life.”—Wm. S Burroughs
---Intro to Junkie

Note: this was inspired by, is a response to, a question from my friend Eric Basso, from a brief letter as part of a discussion among a small group of friends & fellow workers--

I have a terminology question for David-Baptiste. I remember
> the term "dope fiend" being the popular form of designation in the
> 1950s. Since you're surrounded by these folks, can we all assume that
> "dope fiend" is again the current term?

K in his letter is right re white persons calling smoking dope smoking weed in the seventies--
again, i shd note as a hard drug user to me dope always meant heard core narcotics and a fiend a hard core user--

later on smoking dope meant free basing then crack--
here dope fiends are crack or narcotics users--

depending on who is speaking and in what context saying dope fiend is like a kind of joke in that it is referring not to the actual act but to the clichéd image of the dope fiend promulgated in comics films tv etc--
like laughing at a corny image of oneself--
"we dope fiends" ha ha ha!! woo woo woo!

in his intro to Junkie (pub 1953) Burroughs notes that junk is not about kicks--it's a way of life--

so the meaning of dope fiend if we are laughing or talking abt it means the entire complex of activities associated with dope--getting your freak on--for example--hiring hos to smoke with one and then get into wild sex--

here in Milwaukee in the crowd i've known over the last decade, dope is most often linked with women--a woman will get one back into it, or one hires or gets hold of a woman one way or another to smoke the dope with--or just being around women--hos esp--leads one straight back to dope as it is associated with them--

the other night when i was working in the office, a guy went out for smokes at ten pm--came back within the ten or so minutes this wd take (he picked up a pack for me, too, from the two blocks away dangerous gas station/convenience store--this place is a trip anytime of day or night!--)

at 10 35 the dude went back out again, carrying a large white plastic bag with some large objects apparently inside it judging from some forms pushing against the tightened plastic--

he left without signing out and gave myself and another two characters visiting me in the office a goofy grin--sure enough at 11 pm curfew time from Sunday to Thursday (this was Sunday night)--he wasn’t back--once i had the office end of night things taken care of i went directly up to his apt--and knocked a few times--heard something move inside--and said--D are you in there to which young sounding white female voice replied--he isn’t here--i didn’t realize we needed for that door and two others a different key from the usually used on the apts (it is on the key ring--the manager had forgotten to tell me a few locks had been changed due to getting messed up through simple time--)--i said i am going to get mgr--
sure enough when C and i go inside there is a young white female with markedly burnt lips--tell tale sign of cracking smoking as the pipe--or "horn"--or "stem"--gets so hot--generally being made of metal (tv antennae pieces cut off)--or glass--the glass tubing that small imitation roses come in at all night convenience stores, gas stations etc for precisely this purpose--i.e. hidden in plain sight paraphernalia--so many places have stopped carrying them--

the heated metal and glass burn ones lips and fingers—and tongue, too—if one’s not paying attention--

this female was very tough looking for what must have been her i wd say 19 or 20 years--hard bitten but still young, soft face--she was just sitting at a table with the paraphernalia out--on the table--"chore" (chore boy used to make the nest inside the horn to hold the crack--and push--she'd been using pipe cleaner to push the residues out of the tube to use to smoke—(called “push” because you have to push it out--)

there were the usual bunch of crack lighters--the really cheap kind whose metal tops fall off from the violent flicking needed for crack smoking--often one finds them in gutters along the sidewalk--sudden oases of vari-colored plastic lighters missing the top except for the wick--

(we call such brands of lighters crack lighters as opposed to actual cigarette lighters--)

she got belligerent when C said it was time to leave bitch--but with a sudden weary series of gestures indicating this event as a frequent one in her life already--she donned her "hoodie" as Wisconsinites of al backgrounds call hooded sweatshirts--and a thin coat--and headed downstairs--

visiting hours on Sundays are noon until eight and one and one’s guest have to sign in and out--since the office on sat and Sunday isn’t open until six--the young woman had obviously come up with D before i came on duty at six--the time she had been there actually we cd calculate by the number and depth of her lips burns--as meaning she must have arrived about 430 to five in the afternoon--and stayed stashed away there ever since--

she claimed she didn’t know she cdnt stay overnight, but without much conviction--

we changed the code right away and printed out the slips and distributed them under the doors of al the apts--
so D never did come back in--he couldn’t--

i was surprised he had been let back in this time as twice previously he had been here with the roughly the same results--i think the real reason he was let in is the cynical yet real one--that his rent was being nearly all paid by salvation army--with him only needing to pay fifty dollars--

sure enough the next day he was calling here demanding that his rent money be returned to salvation army--the part they had paid--while seeming not to get it he himself figured out he shd receive fifty—not quite really of the returned 350—but the fifty he was to have paid to add up to the full 400/month rent--!--the missing fifty dollars his responsibility being transferred to being property of salvation army meaning by some twist of illogic he wd "get back" fifty dollars he had never paid in the first place!

plenty more recent events to write you of--it will be quiet as far as code changes sometimes for as long as six to eight weeks--then overnight we will have a new one everyday almost for one to two weeks--

some guys move in, get their stuff stashed in the apt--and go back out (going back out also means to go back out into the dope world, besides meaning just to go out the door--)
and get drunk or high to celebrate moving in!!
and so live here not really at all--just spending an hour or so here to unpack--

i had a apt mate one time who moved in heaps of stuff--huge wardrobe, furniture--and whose girlfriend drove up a whole bed room set and tons and tons of clothes, much of it stored in neat zip up plastic bags--the next day from Chicago for him--

but he was already gone--

after settling in in the late afternoon and commandeering the control of the cable tv remote--he had started cooking some immense amount of food—an immense pot pourri of some improvised kind—accompanied by several equally on the spot invented side dishes-- and leaving it on the stove for me to watch while he went out to a meeting on the lower South Side--

he never came back--seems his “guy”--the dope man--lived just down the street from the church where the meeting was so after the NA (Narcotics Anonymous; founded 1953 on the basic 12 steps, with after that many variations that are needed for narcotics addicts which don't apply to alcoholics or for that matter Cocaine Anonymous members either--though a person like myself is part of all three--) meeting he had another meeting---with his “guy” as it turned out, not surprisingly-----and we never saw him again--

the girlfriend was delighted--as basically she inherited al his suits and furniture and electronic equipment-and so minded not al making two trips between here and the Big Chi--

note: the term “my guy” is used to denote one’s own importance as well as the importance of the “guy”—whose importance of course is multiplied by being associated with one’s own—and vice versa—each being the moon in full reflecting glory-glow of the other—

“my guy” can be the dope man—or a person one knows who can get one a deal on anything from good socks to autos to jewelry to colossal packages of meat etc—or any kind of Black people’s hair and skin care items—or CDs, DVDs—tv sets al manner of stereo equipment—tickets to shows or the zoo or a barbeque some inner circle type—

The more guys one has, the more illustriously easy and cloaked in robes of leisure and beauty one’s life is—

For example my friend M the head butcher of X incredible meat dept—is in a way really “my guy” as he always has a “hook up” for me in the way of special deals on really great ground beef or turkey or anything else I might like—or my friends who run a record store and periodically give me an extra good deal on a video or cd--

(usually we store things for people who are moved out and dutiful save their mail for them until they are relocated and come back for their stuff--many never do so the building inherits more equipment which is shared around to whatever apt or whomever needs it--previously there was just one house tv per apt now we have two and more for each one--let alone various cd and DVD players shaving razors of the electronic variety hair cutting equipment--alarm clocks--all sorts of gee gaws for decoration etc as well as piles of clothes--

i inherited directly the monitor i now have on and soon Christ and i will hook up the truly incredible computer left behind by one guy who had really gotten into them--saying to give it to whoever Christ thought wd most appreciate having it--he was headed out to spend times in the woods and then start traveling to Florida--his dream he had talked abt for years without ever moving an inch further than he had to go to work or the bars (heavy boozer, not a dope user--)--

so i have al this amazing equipment to get hooked up!

a meanwhile--the guy wrote and continues to do so from Florida--he is actually doing well staying clean and has work he likes a lot and found a nice small place to live in--he's in heaven--so thank gawd that once in a while some miracles do happen--though for how long they last is day by day question--

the start of this month marked four years for me of recovery time but i had forgotten until someone asked me how long i had been here--

unlike most people i never bother to keep track of the clean time as i am firm believer the only day that counts is today--if one starts counting the days it makes me feel at any rate like i am in prison crossing out days on the calendar until i am released and can back out there!--

one day at a time though is also a contradictory method for me as i lived that way most of my life esp when using--so it makes it hard for me to try to plan things etc--

when i lived back east heroin in the Boston area and the cities along the shore was along with meth the really big drug--the east coast as i knew it from nyc to the border with Quebec--was basically heroin nation--with pockets of meth in NH and MA--mainly among working class white people--

but here in Milwaukee the drug of choice is vastly on the side of crack--heroin since the invasion of Afghanistan of course has roared back to life big time with some of the most powerful and dangerous dope known to hit usa streets ever--

it is particularly in really high use in the suburbs--

i was in an outpatient group for a few weeks after oneof my hospital stays--and we had in our group a very wealthy young "Jewish american princess"--who looked down at anyone who smoked crack--she had become addicted to heroin as her even richer boyfriend sold it to help supplement his monthly allowance of 1,200 bucks from his parents--and he lived at home, too!--

so of course boyfriend's income became heavily supplemented by girlfriend--who didn’t believe it when we told her the guy was a dope man and getting her hooked so as to have right next to him a dependable source of income!--she refused to believe anything cd be so cynical and accused the rest of us, myself and three black women esp of having "evil minds"--

anyway she thought of crack as being a "white trash" drug which caused gales of laughter from the almost all black female group--

so one can see within very small areas the nomenclature and associations with drugs vary a very great deal from one little area to the next--even in one part of the Hood things may go by different names--when i lived in Boston the same words meant different things depending on what part of Boston was in--

my son Paul who grew u primarily in the hard core motorcycle drug culture--fairly red neck also as NH is called sometimes the Mississippi of the north ("live free or die" after al is on their license plates--)--

--Paul had al sorts of terminologies from NH and as he was moving to Boston i told him of the nomenclature quite different to say the least in use in Boston, and even there varying from being say in Cambridge or Somerville Roxbury or Jamaica plain--let alone in Brookline or Newton--the large suburban Jewish community my boss at the record store was from--he had been a hard core heroin and morphine addict before being a methadone patient for years--

al of this infinite and ever changing variety of names--is brought up by Burroughs in the intro to junkie (1953, Ace Books--Carl Solomon, great hilarious author (the immortal old City Lights publication MISHPAS, PERHAPS and MORE MISHAPS, which i am blessed after years of keeping an eye open, i was able to find at a couple years' interval--here in Milwaukee--and dedicatee of Ginsberg's HOWL--worked their for his uncle who owned the company-you may remember their old double editions, with two books in one, one side printed face up and the other side face down, so one just had to flip the book over and prestochango!--a whole new book to read!--they had great covers, too--my two editions of Junkie, the second edition still from Ace, have a fantastic melodramatic image--I’ll scan and attach it--)--in which he writes that a glossary is therefore impossible to make of words whose intentions are fugitive

people make up their own code names to be used among friends too--with one friend in Boston who worked in the store next door to the record store--he had previously worked there --we used to sometimes have a slow day and decide--he was just across an open hallway from me--to get ourselves some "taw"--coke--the name being derived from the song Wichita lineman--since we were doing lines we referred to the Wichita lineman--and it soon became Wichita and then finally just plain taw--

it started as one day i was playing an old ray Charles tune after he had switched labels to abc paramount--and was doing country music--and so one this one lp did Wichita lineman i was listening to and burst out laughing at the thought of the Wichita lineman high on the electric power lines etc--so started referring to the Wichita linemen and my friend picked it up right away--

one time the guy we bought the stuff in--he owned and ran a record store just down the street--heard us talking about Wichita and taw in the store while waiting to pick up some little folded packages--and said what the hell are you talking about are you guys nuts--Wichita lineman is an awful song!--so we explained it to him--and being a fellow vinyl junkie and music fiend--of course he got it right away

well one cd go on and on for days and days telling stories of those days in Boston let alone al the things i have heard and seen the last ten years here!







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Amnesty Int'l USA--Take Action!-Stop the insanity, Senator!

---------- Forwarded message ----------
From: Amnesty International USA <>
Date: Fri, Feb 26, 2010 at 6:05 PM
Subject: Stop the insanity, Senator!
To: David Chirot <>

Amnesty International USA: TAKE ACTION NOW!
Yesterday, Attorney General Eric Holder and Defense Secretary Robert Gates appealed to Congress to not drain funds from fair, federal trials:

"We have been unable to identify any precedent in the history of our nation in which Congress has intervened in such a manner to prohibit the prosecution of particular persons or crimes."

Urge 12 key Senators to stop the insanity - protect fair, federal trials.

Dear David,

Our sources tell us that any day now Senator Lindsey Graham's appalling legislation (S. 2977) could be hitting the Senate floor. Graham's proposal takes a back-door approach at stopping federal trials for those suspected of being involved in the September 11th terrorist attacks - instead of flat-out opposing action to move these detainees to facilities in the U.S., this legislation drains funding from the last hope we'll have at fair September 11th trials.

If these men are guilty, then our federal courts will reach that determination. It is just wrong to cheat - and worse, even rob - them of their day in court. However, one-by-one we're seeing the Senators we thought we could count on to uphold the rule of law, turning on those values and backing this devious proposal.

Last week, we asked you to pick up the phone and put both Senator Graham and the White House on notice that we would fight any attempt to backtrack on federal trials. Now that they've been warned, it's our time to strike!
Stop the insanity, Senator!

We need your help to shore up support for federal trials. There are 12 key Senators that we need to stand with us: representing New York, Virginia, Pennsylvania, Washington, Louisiana, Colorado, Indiana, North and South Dakota.

With their support, we can stop Graham's legislation! Email these Senators now and urge them to stand for fair trials!

Even if you don't live in one of these states, it is imperative that these Senators hear from you - this issue cuts to the heart of our democracy and affects us all. Of course, if you do happen to live in one of these states (or know someone who does), then we can't do this without you!

If Senator Graham's legislation continues to gain momentum, it will force Attorney General Eric Holder and President Obama into an impossible spot. They will have no choice but to accept military commissions as the only alternative to fair, federal trials.

And you and I both know the truth about military commissions...
  • They are a poor substitute for federal trials; devised by Senator Graham and other politicians, not the military!
  • The only things these kangaroo courts can accomplish are biased convictions and the prolonged cover-up of U.S.-sanctioned torture.
  • They don't meet anyone's standards for fairness - by U.S., international or U.S. military standards. In fact, they wholly undermine the international human rights framework!
It only takes a moment to fight back against the insanity!

Send an email to these 12 key Senators and tell them how important they are in our fight to protect fair, federal trials and human rights for all!

In Solidarity,

Njambi Good
Counter Terror with Justice Campaign Director
Amnesty International USA

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Fotomuseum Winterthur presents The Subversion of Images Surrealism, Photography, and Film

February 26, 2010

Fotomuseum Winterthur

Roger Livet, Une regrettable affaire (A regrettable affair), c. 1947, from the album of the same name with
19 photographs, created during the revision of the film Fleurs meurtries (Bruised Flowers) c. 1929 
gelatin-silver print, 22,3 x 28,1 cm
 Centre Pompidou, Musée National d'art moderne, Paris 
© J.-E. Livet

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The Subversion of Images
Surrealism, Photography, and Film

27 February – 24 May 2010

Fotomuseum Winterthur
Grüzenstrasse 44+45
CH-8400 Winterthur (Zurich)
Phone: +41 52 234 10 60

From February 27 to May 24, 2010, the Fotomuseum Winterthur is presenting the exhibition The Subversion of Images - Surrealism, Photography, and Film, an extraordinarily rich survey of Surrealist photography. The exhibition comprises over 400 photographs, films, and documents: from very famous photographs by Man Ray, Hans Bellmer, Claude Cahun, Raoul Ubac, Jacques-André Boiffard, and Maurice Tabard to unknown pictures, to magazine publications, artist's books, advertisements, to fascinating "raw, found documents", to photo booth photographs, and group portraits of the Surrealists. The exhibition also offers an opportunity to discover lesser-known photographic works by Paul Eluard, André Breton, Antonin Artaud, or George Hugnet, photographic games by Leo Malet or figures such as Artür Harfaux or Benjamin Fondane. More than twenty years after the last major review of the subject, "L'amour fou - Photography & Surrealism" (1985) by Rosalind Krauss and Jane Livingstone, the exhibition The Subversion of Images - Surrealism, Photography, and Film extensively demonstrates and discusses the openness, diversity, and innovation with which the Surrealists employed photography.

The formal language of Surrealism has long since found its way into everyday life via fashion, advertising, and the media. Today the term Surrealism brings together everything that appears magical, dream-like, and incomprehensible. It is often forgotten that the Surrealists were artists and writers who worked very incisively toward changing the world and gaining self-knowledge and who also reflected critically on social-political questions. The surrealist avant-garde considered itself to be a revolutionary countermovement to the bourgeois system of values. Through new imagery, they investigated existence during the interwar period, a time of great social and political instability, and they deconstructed received ways of seeing and thinking through various artistic strategies. Photography seemed to best fulfill the Surrealists' needs as their medium of choice.

The title "Subversion of Images", given to a photo series by Paul Nougé by the Belgian Surrealist Marcel Mariën, is intended to inspire reflection. For the Surrealists, the challenge was certainly to overthrow images, and in this way to alter forms of representation. Yet it is equally - and perhaps even more so - about overthrowing through images, confusing the existing conditions of reality. "Over time the true revolutions," Breton wrote, "will be carried out through the power of images."

The survey exhibition is organized by the Centre Pompidou in Paris and shown in collaboration with the Fundación Mapfre, Madrid, and the Fotomuseum Winterthur. The Fotomuseum Winterthur is this exhibition's only stop in the German-speaking area. 
The curators are Quentin Bajac, Clément Chéroux, Guillaume Le Gall, Philippe-Alain Michaud and Michel Poivert.

Main sponsors of the exhibition: Swiss Re / Vontobel Foundation
A comprehensive catalogue on the exhibition is available (French with a German booklet):
La Subversion des images – Surréalisme, Photographie, Film containing essays by Quentin Bajac, Clément Chéroux, Guillaume Le Gall, Philippe-Alain Michaud and Michel Poivert and a chronology by Emmanuelle Etchecopar-Etchart. Published by Centre Pompidou, Paris (Ed. Clément Chéroux, Quentin Bajac). Hardcover, format 25 x 30,7 cm, 480 pages, approx. 500 illustrations.
In addition, the Fotomuseum Winterthur publishes all essays and the chronology in German in the form of a bound booklet. 68 pages, no illustrations.

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Fotomuseum Winterthur
Grüzenstrasse 44+45
CH-8400 Winterthur (Zurich)

Phone: +41 52 234 10 60
Fax: +41 52 233 60 97

Opening hours: Tue – Sun 11am – 6pm, Wed 11am – 8pm, closed on Mondays

41 Essex street
New York, NY 10002, USA

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