At the function dedicated to reopening the US Embassy in Havana, Richard Blanco read from a poem that declared: “No one is other, to the other, to the sea, whether / on hemmed island or vast continent, remember.” His poem, “Matters of the Sea,” projects optimism about unity and renewal — or is it didacticism? — diplomacy? All of the above?
Look Innocence is important It has meaning Look It can give us Hope against the very winds that we batter against it.
At the function dedicated to reopening the US Embassy in Havana, Richard Blanco read from a poem that declared: “No one is other, to the other, to the sea, whether / on hemmed island or vast continent, remember.”
L’Apocalypse arabe is composed in French by the Arab American poet Etel Adnan. It was published in 1980; Adnan’s English translation appeared in 1989. Of the several rubrics under which The Arab Apocalypse may be read — visual poetry, surrealism, translation, postcolonialism — its work of witnessing most commands my attention. Not least because it was written in response to and in the immediate context of the Lebanese Civil War (which broke out in 1975), but also because these other strands (the visual, the surreal, etc.) make the act of witnessing a provocative challenge to any notion of stability that may — innocently or otherwise — attend questions of representation in literatures of witness.
Note: The writing of the philosopher and art historian Georges Didi-Huberman is so tightly bound up with images, so rich in ways of seeing, that it may sound odd to say that he first mattered to me as an invisible voice on the radio, long before I familiarized myself with his books.
Nisga’a poet Jordan Abel’s 2016 book of poetry, Injun, is a rhetorical analysis of “pulp propaganda” and a decolonizing application of the Tzara-Gysin “cut up.” Put another way, the book ostensibly asks: what if we sent Bernays rafting on the Nass River of Northern British Columbia to toss his Freudian guts out? “It will come to him as his own idea” — as in a dream.