North Korean propaganda reveals “the orphan to be the national symbol of North Korea, the figure, it seems, most capable of being revolutionary.  After all, just as the orphan is a broken link in a chain, so revolutions seek to create a radical break with history.”
Clare Callahan, Duke U. Human Rights Archive

This pains me to read. My father, my mother, the various people I loved — they have had written into their spirits this un-requitable break. Reft from ancestors, family, homelands, and languages, these orphans have populated my spirit. They have cut and swung out at each other, at themselves, in the way they reached for that space inside them which caved in. I swell with their novel vacuity, their bright, mourning eyes of impenetrable isolation.

There’s nothing romantic about an orphan. They are quiet — yes — because they no longer hunger; they dwell interminably at a loss. They move but everywhere they go remains for them the same. An isolation. A dystrophy.

Where’s the whip that lashes at this throat of history? The torn throat that fails to sing. To break from, to swallow without enunciating. To turn aside in the dust and moan.

I am going to have terrible, consequential dreams.

***

am I prepared

No beginnings as all beginnings. The greatest beginnings. To sow in flames.

How the body bleeds. To staunch a wound — is fire the only salve?

When you burn yourself, the body holds the heat inside for days. Oh that blistersome heat. It scorches, even after the ice packs, cold compresses, the gauzy salves or pursed lips in their loving, cooing administrations. To feel a sun press through you in the middle of the night. To have it murmur against your body while you turn in your sheets, the windows wide open and crickets churning in the grass. Let. Me. Sleep.

to ride a hysterical horse into the sea

He lifted up his shirt. Fat, bubbly blisters like plastic packaging populated and pocked his back. You need to go the hospital immediately. The largest were as big as quarters. I don’t know how it happened. I want to cry at how they softly–so quietly–cling like gossamer barnacles to his skin. My hand coils tight against my side. Suddenly, I can’t breathe.

This term gets floated around a lot. Post-race. Post-racial. It’s clearly a reactionary term. To actually believe in it as a fundamental standpoint is totally ludicrous.

It’s on my mind at the moment because I just read Amiri Baraka’s excoriating response to the anthology Angles of Ascent: A Norton Anthology of Contemporary African American LIterature. Baraka essentially points to the delusion inherent in trying to erase an entire sector of lived experience for somehow harming or reducing the artistic merit of work produced by non-white artists. I say non-white because only “white” artists are allowed be “free” from history and society. “Whiteness” doesn’t have a “history.” That’s why it tries to destroy everyone else’s. But that is a blog post for another day.

POST-RACE only exists when “race” ceases to operate as a structural framework for exclusion, limitation, and oppression. To pretend it doesn’t have power doesn’t make it go away. Artists often turn to the aesthetic or formal as a way of distancing themselves from the social and material, which I personally think is delusional. Ignoring your body doesn’t make it go away. It makes it wither and sicken.

I call race a consensual fiction, but that DOESN’T mean that I think the way to transform it is to ignore it. I call it a consensual fiction because the differences that “race” brings into legibility actually aren’t fundamental differences at all.

Baraka is a spitfire intellectual who has provoked on many occasions. I, for one, am a fan.

As an “Asian American” author, these sorts of questions are always on my mind. To be “Asian American” is always a question of being. HOW am I what I am being right now? This is a constant negotiation between me, my environment, and my social context. History runs through and around me always. I am never just “me.” How to channel all these things into something fundamentally different is my constant challenge.

I love poetry for how it can model alternatives in thought. To read a poem is to have your brain potentially rewired. As a social phenomenon, though, poetry also exhibits society’s best and worst symptoms. These sorts of debates — of grouping and privileging, of distancing and differentiating — these are power plays.

Let’s be Real. Actual. True.

Since February, I’ve been trying to track how the circulating rhetoric between North Korea, the US, and South Korea echoes across the globe to shake even my spirit. Back in February, the DPRK tested another nuclear device and started “saber rattling” in preparation for the ROK/US joint military exercises scheduled in March. I find so many intriguing circuits in this love/longing/fear dance between North/South // East/West. In Underground National, I likened this dance to a dysfunctional love affair.

This new effort, tentatively called Daybook, extends and explores this psychological framework for thinking about these geopolitics. It’s very personal writing, though others may not see it as such. I’m not certain what to call this mode. Perhaps a psycho-geopolitical poetics. Personally, I situate my failed marriage, so many domestic troubles I’ve seen and lived through, in these geopolitical cross-currents, the multi-generational legacies of cultural traumas. I’m trying to understand this dilemma — of bodies and landscapes — through my body. Through language. I’m trying to set myself free. An impossibility. Can I enumerate.

Be black light, Juliette. Furling.
Be a rupture, no cirrus.
Be that torn antler stranded in the snow,
bony finger pointing to the sky. See.
Be that word. Be elsewhere, a presence.
Magnanimous and difficult.
Can you remain.

This writing is a challenge for me, since I’ve never had anything like a “daily” practice.

I don’t know what I’m making. It often aches in the center of my body, where my stomach nestles up against my spine, like a coal there. This project makes me feel small and strangely diaphanous, overwritten, consumed.

**********

from the salient fact repeated early (4/19

We never respond as we should
with comical results
explain educate acknowledge ((frequently
inaction // action

I don’t know for sure
that lack of knowledge
has         “low reliability”
no one agrees

*

already the end?
did it ever begin?

pass
pass on
pass over
pass by
pass the time away
so much to be done
not all of it interesting

rain on lens drab & gray pine barren & downs

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The recent news flash that the Boston bombers were from Chechnya came as a surprise to a public primed — in some cases salivating for — brown Muslim jihadists. It’s fascinating to watch this new spatialization of terror, race, and national identity swerve and reconstitute itself in order to now account for these two men. Some news reports describe these men as being from Central Asia. This description interests me.

What are the outer limits for “Asia”? If Chechnya is now at its center and Japan at its Far East, does that not make Europe western Asia? The myth of continents rears its head.

By describing their Central Asian origins, these reports ensnare these men in geopolitical discourses of otherness. Can one be Muslim and “white”? I doubt it.

The thought you held inside your body — manifested in that quick flutter or way your hips stiffened as you walked up the street — are you to be culpable now for even that.

How can we predict a behavior. I think of the larger cultural sub-programs operating through me — a ray of black light, furling along the central column of my spine. It has a tensile strength. That is hardly a home. Some habits I seek to translate into language, catch it phrase by phrase and render it seen.

Are habits always destinies. Are patterns always predictions.

Am I also my future, all that is yet and else. Is that me, too.

And what of the men whose spirits called out, who reached for guns and took shelter among friends. Can we see inside their bodies with such certainty. Is terror housed in an angry fist or the nameless bolt that falls down from the sky.

To sign off. To sign. To mark through your body. To strike it down, through. A name I wrote on the page. This trace of a body, flattened and captured. Sent such distances.

Can I survey murder in your heart?
Can I survey murder in your body?
Can I survey murder in your name?
Can I survey murder in your movements?

Can I know the future in a gesture.
Can I know the future in a signature.

I had an incredibly exhausting trip out to Buffalo with some friends to participate in the small press book fair there. What an incredible space.

A lot of my friends out there fall into the “conceptual poet” category. This label fascinates me for who gets placed in it versus who does not. There seems to be a strong proceduralism and/or repetitiousness to the projects I have seen get read under this “conceptual” banner. And a provocation at the center of their work. Some might describe it as “offensive.” I am on the fence. I’m interested and alert to it because I haven’t quite made up my mind about what I think it’s doing. That in itself is very exciting to me.

But what about authors working in different shapes with different motivations behind their work? Nathaniel Mackey. Urayoan Noel. Myung Mi Kim. There is a sense of history at their center that they write around. Does this disqualify them from this label of “conceptual”? I’m inclined to think so.

Sometimes research is a lifeline, a beautiful kaleidoscope that unveils a myriad horizon. At other times, it is the haunted umbilical cord that pulls at your center. Such pain.

I’m researching into cultural trauma. It is “funny” to read into something that feels so intimate to me. The traumas of war, displacement, domestic abuse,”the nation,” racial logics — these have left black fingerprints all over my family’s portraits. It ate my marriage. And still I sing! I am known for my sunny disposition!

I think about this term, “postmemory.” The psychological multi-generational fallout of trauma. A cultural violence, distilled into our bodies. KOЯEANs know it so well. We call it 한. I know HAN by a sort of native birthright, I suppose. It courses through me. It is not all of me, but it is mine. HAN. A deep sorrow, anguish, bitterness. Where are its roots? A heartrending sound, it pierces. It has an elemental depth. It hurts, it is familiar. Is this how continents are born? This beautiful folk singer, 김영임, has it coursing through her voice.

I’ve described it a bit previously in my review of Kim Hye-Soon’s poetry. I’ve written to and from it in so many places.

HAN is not just a feeling or a sound. It is also a gesture, a feeling inside your body. I have been working to release it through movements. I hesitate to call it dance. I meditate. I become filled with a mood. This mood moves me. I give into it.

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Can I climb this thorny rope that reaches from my guts, out of my throat, and into the sky? Can I climb this thorny rope into a new element, a new figure, a new light? Without ambition. Without hope. How may I climb.

Tell me the story / Of all of these things. / Beginning wherever you wish, tell even us.

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