From Deleuze and Guattari’s essay on “Minor Literature” to Alfred Arteaga’s work on Chicanx poetics, theorists have studied the relationship between power and language, describing how creative writers find inventive ways to interrogate monolingual and nationalist logics.[1] Often, personal as well as historical conditions shape an author’s linguistic choices. My interest here lies in how poets use citation and translation as craft techniques in forging poetic languages that challenge powerful configurations and histories.
In solidarity with the Tinang 83
Statement by Divya Victor
We at Jacket2 are in solidarity with the artist/writer and activist Angelo V. Suárez and his partner, the choreographer/artist and activist Donna Miranda. Angelo and Donna are part of the group now called the Tinang 83, a group of eighty-three artists, writers, and activists from the Philippines who are advocating for agrarian and environmental justice, working on behalf of farmers in the region. In an early June incident of police and state brutality against farmers and their supporters in Tinang — a town in Concepcion, Tarlac, in the Philippines — eighty-three activists were accosted in the one of the biggest mass arrests in recent memory. Among those arrested with Angelo and Donna is the Biennale multimedia artist Cian Dayrit. Days before his arrest, ArtNet News identified Dayrit as one of brightest stars of the Bienniale circuit, along with established artists like Cecilia Vicuña, Superflex, and Forensic Architecture.
We at Jacket2 are in solidarity with the artist/writer and activist Angelo V. Suárez and his partner, the choreographer/artist and activist Donna Miranda.