i have been following the discussion about entropy’s trigger warning round table with interest and a little bit of hesitation to say anything, but i’ve been thinking about some things and they mostly related to space and translatability of the language.
i came to teaching through support group…
here’s a couple ways I denote that we’re going to talk about trauma and acknowledge the possibly/likely existence of trauma survivors in a space I’m responsible for:
in a support group for teens: Today we’re going to be talking about violence, what it means, and how it affects people and communities. This might be an upsetting conversation, so I hope we can all be compassionate and respectful with the way we use our words today. Please remember that you don’t know what other people have experienced, including violence, and that people’s experiences are their own to share or keep private.
in a community education writing class: Writing about memory…can be difficult for some people, so be gentle and take care of yourself however you need to. ..We all come from different places, so please don’t make assumptions about other people in class, what they may or may not have experienced, and how they identify…Please let us know if you’re going to share work that is graphically violent or references trauma or abuse, because not everybody is in a place to hear that.
I am the sea and nobody owns me.
The Body as a Bird in Lucas De Lima’s “Ghostlines”
Have you ever lost someone to an animal attack? Have you ever imagined yourself, in your most grief stricken moments, as an animal? Have you ever imagined yourself as an animal to escape your grief? Most of us have not had to confront any of these questions, but Lucas de Lima, who lost his dearest friend Ana Maria to an alligator attack in 2006 has. In creating his chapbook GHOSTLINES, de Lima, insofar as he confronts his relationship to the death of his friend Ana Maria, does so in an animal body. By using an animal body de Lima is better able to both move beyond grief as he is intimately connected to it. His choice of animal is the bird, allowing him to create a form of flight to move forward even as he remains connected to Ana Maria and the alligator. This connectedness is achieved because de Lima predicates his experiences on the idea that biologists have found them to be evolutionarily descendent of reptiles. In staying connected, de Lima does not dwell on his grief; instead, he able to reconfigure his grief and the legacy of Ana Maria in this new body. Doing so allows GHOSTLINES to find something new in the study of grief and, as he says, “reach into those jaws to find her heart.”
LUCAS DE LIMA
Over three years James Mollison photographed fans outside different concerts for his project The Disciples. ”As I photographed the project I began to see how the concerts became events for people to come together with surrogate ‘families’, a chance to relive their youth or try and be part of a scene that happened before they were born.”
- The Cure
This is so cool!
The Björk girls <3 <3 <3
We are in our final 3 days of our Kickstarter and still have $610 to raise! Support us at this crucial time & receive some of the most exciting new work in 2014 (from Kristen Stone, Danielle Pafunda, Joohyun Kim, Lucas de Lima, LaTasha N. Nevada Diggs, Cathy Park Hong, Christine Shan Shan Hou, and Niina Pollari) while also contributing to long-term longevity for BoL!
Birds of Lace is truly heroic; this needs to be funded.
Coming down to the wire — support Birds of Lace!
Nowadays the greatest influences on my work are my best friends and fellow artists; there’s a very live exchange of ideas and expertise and second opinions and politics and problematics there, and without this I would find it difficult to sustain a practice. In neoliberal Postfordism we’re all supposed to be in competition with each other so I guess it feels necessary to create these pockets of supported space, to look after each other and make it possible for each other to keep working when nobody else gives a shit or whatever. The idea of community is important to my work, both conceptually and structurally.
The Sick World of Kim Hyesoon
The body is a sick place. Its reality is viscera. Kim Hyesoon’s poems are composed of these unsightly and unpleasant viscera. They squirm, blind and deaf like newborn puppies, then grow up and live in a dog-eat-dog world. This world is called Sorrowtoothpaste Mirrorcream.
In Kim Hyesoon’s third collection of poems translated by Don Mee Choi, the South Korean poet examines the sick, grotesque body and its effects on a nation. Sickness begets sickness in Hyesoon’s poetry, but it is also a necessity. We need the disease in order to make the antidote…
Christine Shan Shan Hou on Kim Hyesoon!
“there are those who watch TV
& those who used to watch TV.”