If refraction reorients boundaries and shapes that we take for granted, then this literal impulse lies at the center of the well-known cut-paper silhouettes of Kara Walker, which I now examine through the lens of translation and refraction.
[Re-posted from a previous publication in Poems and Poetics, to mark Dennis Tedlock’s unexpected passing earlier this year. My admiration & debt to him – & that of so many others – is hardly in need of explanation, though the note below provides some of it. (J.R.)]
Artaud’s separation from the Surrealists was not amicable. A rough break was perhaps inevitable considering the Surrealists’ tendency toward confrontation and disruption, a disposition further provoked by the view that Artaud was a sell-out.
Luis Buñuel, who joined the Surrealists after Artaud left, describes this rebellious spirit in his memoir, My Last Breath:
It is with great sadness that I learned of the death of Dennis Tedlock on June 3. I worked closely with Dennis during our time in the Poetics Program at SUNY-Buffalo. I greatly admired Dennis's work and was lucky to get to know him.
[N.B. What began for me with 50 Caprichos after Goya & has continued with variations on “The Disasters of War” will end with this Coda, first sketched in Madrid 2007, in the shadow of his darkest works. (J.R.)]