Nicolas Bourriaud

Abyss

Pt. 9

‘Vantablack’ (blackest ever black)
‘Vantablack’ (blackest ever black)

We are so deeply mired in our philosophies as to have evolved nothing better than a sordid version of the void: nothingness. Into it we have projected our uncertainties, all our ills and terrors, for what is nothingness, ultimately, but an abstract complement of hell, the performance of outcasts, the last-ditch effort at lucidity mustered by creatures unequipped for deliverance?  — E. M. Cioran[1]

Caesura

Pt. 8

Raine Vasquez, “Caesura" (2012)
Raine Vasquez, “Caesura” (2012)

The poem’s forcefield qua khôra, Plato’s “placeless place,” functions as an interstice — an opening or clearing rather than a “site” — defined by indeterminate plasticity and mobility rather than the rigidity of fixed “ground.” The malleability of the poem’s frame opens to a play of transecting forces — an unsettled interval, an open orchestrating lines of force to produce “tension between the homogeneous world and what finds no place in it.”

The poem’s forcefield qua khôra, Plato’s “placeless place,” functions as an interstice — an opening or clearing rather than a “site” — defined by indeterminate plasticity and mobility rather than the rigidity of fixed “ground.” The malleability of the poem’s frame opens to a play of transecting forces — an unsettled interval, an open orchestrating lines of force to produce “tension between the homogeneous world and what finds no place in it.”[1] This interplay of forces produc

Forcefield

Pt. 7

Tobi Trübenbacher, “Aesthetic Magnetic” (2017)
Tobi Trübenbacher, “Aesthetic Magnetic” (2017)

It’s fashionable among politically militant avant-garde poetry communities to insist on the inefficacy of the poem, primarily because poetry, we’re told, is ultimately powerless: it lacks the necessary force to fundamentally alter material conditions on the ground, and as a result, it’s all but impotent in the face of supposedly “real social forces.

Art comes from the excess, in the world, in objects, in living things, that enables them to be
more than they are, to give more than themselves [] Art is the consequence of that excess, that energy of force, that puts life at risk for the sake of intensification. — Elizabeth Grosz, Chaos, Territory, Art: Deleuze and the Framing of the Earth[1]

Mark Nowak and the strategic inexpert stance

Mark Nowak reads at the Split This Rock Poetry Festival in 2010 (photo by Jill Brazel)

Jules Boykoff

Mark Nowak is, as he puts it, a practitioner of “an anticapitalist poetics of/upon American empire” (240). He’s the author of three poetry collections—Revenants (2000), Shut Up Shut Down (2004), and Coal Mountain Elementary (2009)—all from Coffee House Press

Though not formally trained as either a playwright or a labor historian, Nowak has embarked into those specialized terrains as an inquisitive, rigorous poet. To be sure, Mark may well resist this oversimple categorization as a poet—despite holding an MFA and publishing widely in the field of poetry—as it could pigeonhole him in poetry circles whereas he works regularly in labor history circles, speaking widely at labor-history conferences and events.

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