Mendi and Keith Obadike, Four Electric Ghosts (1913 Press, 2009, 2011), 189 pp.; Big House/ Disclosure (1913 Press, 2014), 102 pp.—Despite the first, rather interesting, thirty-four pages of storytelling, Four Electric Ghosts is essentially a catalog of what appears to be an Afro-Futurist-inspired opera, at least in terms of its setting and design (disclosure: I’ve not had the opportunity to see any of the Obadikes' theatrical productions).
[NOTE. Aridjis of course is a major Mexican poet & environmental activist, & his close account of the current border refugee crisis calls further attention to the longer & more difficult part of the journey that the refugees have undertaken.
Along with the recent publication of Kindergarde: Avant-Garde Poems, Plays, Stories, and Songs for Children (reviewed in Jacket2 by Eileen R. Tabios and Carolyn Hembree), Black Radish Books has released a sampling of recorded readings from the anthology. While the recordings could illustrate how to approach these poems with children — such as alternating line by line between adult and child, as Kit Robinson does with his granddaughter Flora Beatrice Breitbard in reading “The Happy Onions” — the recordings also, in a broader sense, encourage the rule-breaking inherent in play.
A thought today on the way in which Tracie Morris looks forward and back simultaneously. Morris takes us into a future in which the various arts become indistinct not just programmatically (and disciplinarily) but in every single art piece, wherein the piece is a convergence of imagination, throat, song, history, movement, and improvised word-signifying – and somehow at the same time she returns to a past of the poem as a fundamental song of human culture as it emerged before the mere page did its dominating and excluding.