Here’s a write-up I did about my experience with the Antena Project! Poets & Writers supported the series, and I was so happy to report back to them about the experience.
I now write for Jacket2
Today is March 9th and all the clocks have been set one hour ahead. The day feels a bit different to me starting in this way. The rules tell me it is one hour, but my body and habits continue to believe in another. It will simply take a little time before the new type of day feels right to me again.
I’m sharing this because I am now blogging over at Jacket2 for their Commentaries section. My Commentaries series is called TIME TEXT BODY NOISE, and I’ll be writing about how we experience and imagine time when we read, hear, and see poetry happen. Though this is unstated on the site, I will predominantly conduct this exploration through Asian American poetics, though a few other poets will be in the mix, too. I’m tired of Asian American work being seen predominantly for its Asian Americanness.
I’ll be pointing to work by folks like Tan Lin, Myung Mi Kim, Janice Lee, Jose Garcia Villa, Divya Victor, and Hoa Nguyen.
Central questions about dailiness, the body’s experience of time, different modes of reading, listening practices, and the page as a field of time will be considered.
My newest videopoem
Many thanks to Jonathan Hamilton for videography.
Encuentros with Antena Project at the Blaffer Museum in Houston
If the weather permits, I will be flying out to Houston this Thursday, February 13th, to participate in a series of encuentros, or public talks and workshops, with the Antena Project at the University of Houston’s Blaffer Art Museum. I will be one of eleven featured artists who will be participating over the weekend. Antena Project has worked hard to make the encuentros as transnational and multidisciplinary as possible while maintaining their focus on language experimentation and social justice. I am honored to be a participant, to be part of the conversation, and to learn from the other artists and discussants.
To get a sense of the scope of the weekend, here is the list of the featured artists:
Benvenuto Chavajay (Sololá, Guatemala), Jamal Cyrus (Houston), María-Elisa Heg (Houston), Autumn Knight (Houston), Sueyeun Juliette Lee (Philadelphia), Ayanna Jolivet McCloud (Houston), Nuria Montiel (Mexico City), Kaia Sand (Portland), Efraín Velasco (Oaxaca), Cecilia Vicuña (New York/Santiago), and Stalina Villarreal (Houston).
Antena is a language justice and language experimentation collaborative founded in 2010 by Jen Hofer and John Pluecker, both of whom are writers, artists, literary translators, bookmakers and activist interpreters. I have known Jen Hofer for several years now–primarily through her Tiny Press Practices class at California Institute of the Arts. She has featured my press, Corollary, for several years now as part of her curriculum.
In addition to performing, I’ll also be leading a one-hour workshop on my creative language practice. I’ll be inviting participants to think about their relationship to the territories they live and move in, and how these spaces structure our psyches. I’ll also be discussing how we can actively seek imaginative elsewheres that can help us transform our inhabitance of these spaces, thereby deepening our ability to be fully ourselves in the world.
Below is the schedule of events. Please also go visit the encuentro website. Antena is dedicated to fostering bilingual conversation, and in that spirit, I present the itinerary in both Spanish and English. If you are in Texas and near Houston, please consider attending.
Register online, at Antena @ Blaffer, or at the door.
Inscríbete en internet, en Antena @ Blaffer, o en la entrada.
Before 2/7: $20 (students $10) / Antes de 2/7: $20 (estudiantes $10)
After 2/7: $25 (students $15) / Después de 2/7: $25 (estudiantes $15)
ENCUENTRO FULL SCHEDULE:
Friday, February 14
Note: daytime events are open only to registered participants; evening program is open to the public
10:00am – 12:00pm Panel discussion: Efraín Velasco, Ayanna Jolivet-McCloud, Stalina Villarreal, Benvenuto Chavajay, Tony Macías
12:00pm – 1:00pm Lunch at Blaffer Café (provided)
1:00pm – 3:00pm Workshop: Nuria Montiel
3:30 – 5:30pm Think, Listen, Make: Group Exercises in Text-based Visual Work: Sueyeun Juliette Lee and Benvenuto Chavajay
5:30 – 7:00pm Dinner break (on your own)
7:00pm – 9:00pm Public presentations/performances @ Blaffer Art Museum: María-Elisa Heg,
Ayanna Jolivet-McCloud, Nuria Montiel, Kaia Sand, Cecilia Vicuña (via Skype)
(Introductions by Antena)
Saturday, February 15
Note: daytime events are open only to registered participants; evening program is open to the public
10:00am – 12:00pm Panel discussion: Cecilia Vicuña (via Skype), María Elisa Heg, Sueyeun Juliette Lee, Jamal Cyrus
12:00pm – 1:00pm Lunch at Blaffer Café (provided)
1:00pm – 3:00pm Workshop: Kaia Sand
3:30pm – 5:30pm Think, Listen, Make: Group Exercises in Text-based Visual Work: Autumn
Knight and Efraín Velasco
5:30pm – 7:00pm Dinner break (on your own)
7:00pm – 9:00pm Public presentations/performances @ the Eldorado Ballroom, 2310 Elgin St.: Jamal Cyrus, Autumn Knight, Sueyeun Juliette Lee, Efraín Velasco, Stalina Villarreal, Benvenuto Chavajay
(Introductions by Antena)
TO REGISTER, YOU CAN PAY ONLINE AT ANTENAANTENA.ORG, AT ANTENA @ BLAFFER OR AT THE DOOR.
Before 2/7: $20 (students $10) / Antes de 2/7: $20 (estudiantes $10)
After 2/7: $25 (students $15) / Después de 2/7: $25 (estudiantes $15)
ENCUENTRO HORARIO COMPLETO:
Viernes, 14 de febrero
Nota: los eventos durante el día están abiertos solo a participantes registrados; el programa en la noche es abierto al público en general
10:00am – 12:00pm Mesa de discusión: Efraín Velasco, Ayanna Jolivet-McCloud, Stalina Villarreal, Benvenuto Chavajay, Tony Macías
12:00pm – 1:00pm Comida en el Blaffer Café (se proporcionará)
1:00pm – 3:00pm Taller: Nuria Montiel
3:30pm – 5:30pm Pensar, escuchar, hacer: Ejercicios de grupo sobre trabajos visuales basados en texto: Sueyeun Juliette Lee y Benvenuto Chavajay
5:30 – 7:00pm Cena (cada quién por su cuenta)
7:00pm – 9:00pm Presentaciones y performances en público @ Blaffer Art Museum: María-Elisa Heg, Ayanna Jolivet-McCloud, Nuria Montiel, Kaia Sand, Cecilia Vicuña
(por Skype)
(Introducciones por Antena)
Sábado, 15 de febrero
Nota: los eventos durante el día están abiertos solo a participantes registrados; el programa en la noche es abierto al público en general
10:00am – 12:00pm Panel de discusión: Cecilia Vicuña (via Skype), María Elisa Heg, Sueyeun
Juliette Lee, Jamal Cyrus
12:00pm – 1:00pm Comida en el Blaffer Café (se proporcionará)
1:00pm – 3:00pm Taller: Kaia Sand
3:30pm – 5:30pm Pensar, escuchar, hacer: Ejercicios de grupo sobre trabajos visuales basados en texto: Autumn Knight y Efraín Velasco
5:30pm – 7:00pm Cena (cada quién por su cuenta)
7:00pm – 9:00pm Presentaciones y performances en público @ the Eldorado Ballroom, 2310 Elgin St.: Jamal Cyrus, Autumn Knight, Sueyeun Juliette Lee, Efraín Velasco,
Stalina Villarreal, Benvenuto Chavajay
(Introducciones de Antena)
PARA INSCRIBIRSE, PUEDES PAGAR POR PAYPAL ANTENAANTENA.ORG, EN LA INSTALACIÓN DE ANTENA @ BLAFFER O EN LA PUERTA DEL EVENTO.
[out of nothing] but time
I am *so so pleased* to be included in [out of nothing]’s latest issue on TIME. I share some work that I wrote referencing the joint military exercises between the US and South Korea. North Korea always responds with incredible rhetoric, and I was fascinated by the way these distant events really effected me on a personal level through the language circulating around it. I’m also astounded to be in incredible company!
NOTE: You have to watch the whole video in order for the full table of contents to appear. It IS an issue dedicated to time…
with Thomas Brewster Trudgeon, Felipe W Martinez, Elizabeth Colen, Nate Pritts, Tyrone Williams, Bill Basquin, Feliz Lucia Molina, & more!
Let the Fire Burn
My dear friend Jack took me to go see the documentary film by Jason Osder, Let the Fire Burn, which examines the way the Philadelphia police department bombed the MOVE headquarters in West Philadelphia back in 1985. The resultant fire destroyed about 60 homes and killed many MOVE members, several of whom were children.
MOVE was a radical black collective that also functioned like a religion. Watching many of the members speak about their beliefs in the video footage was heart rending — I could so thoroughly appreciate their standpoint in the social order and how they were radicalized. I found myself agreeing with them when they spoke about how “the system” and “the man” were organized in such a way that the MOVE community could only be perceived as an alien, irrational threat. I also saw how their radical politics skirted on more dangerous philosophies — the way they were feeding their children, the way they were willing to provoke and alienate their neighbors.
The film did an excellent job of examining the complexities in community relations around this event. Set in a predominantly black neighborhood, MOVE antagonized many of their black neighbors, courted white radical allies, and was a lodestone for the police department’s interest — despite MOVE’s initially non-violent activities.
I saw much in MOVE that reminded me of North Korea. They were simultaneously clear sighted and mad. It was the clear vision and madness one clings to when the world refuses to acknowledge your basic humanity or right to self-determination — and sadly, madness distracts from any recognition of clearness. They reached out and imagined a new mode of being, setting out to recompose themselves as best they could.
Listening to the commission questioning a few MOVE members, police officers, and public officials also illustrated to me how these two imaginations for social order — MOVE’s and the City’s — were one hundred percent incompatible with each other. Several of the police officers involved clearly had no ability to see MOVE members as human beings with rights, thoughts, and feelings. There were two different sorts of human beings occupying a shared space together, and though they both seemed to speak the same language, the words they spoke fell on ears that could not hear them.
What I witnessed in this documentary film was a fundamental failure in the human imagination.
A failure to imagine each other otherwise.
A failure to imagine the world otherwise.
As much as I applaud MOVE’s desires to liberate themselves, I also saw how so much of this imagination was founded on completely broken structures of being. How can we create a break in the social order — with history — when we ourselves have been so broken?
This is a question I spin back to incessantly.
How to renew my imagination.
How to imagine the world otherwise.
How to be otherwise.
I do not believe any imagination can be renewed or produce fruit without love. A generosity in attention.
How can we start to see that to be human is to be more than our bodies and minds. That we are our histories and our environments. That there are collectives and trajectories that compose us all the time, which we participate in all the time.
I am describing the way we are starlight and earth, how there are spirits that fill us and they continue to have names. Fire consumes as it burns, but even it leaves a residue.
Philadelphia is a haunted city, but it is haunted in the way that so many of us are. Just under the skin. If you pay attention, it speaks to you. It writes ciphers in the sky. Listening to these sounds and signs can lead you into a transformative encounter of this space.
I wish more people could see this documentary. I wish its black char could rise into the sky and be free.
I wonder — what messages were sent skyward on the tongues of those flames.
10 Beautiful Minutes of Human Political Outrage
Street Harassment: An Awful Narrowness of Attention and Why “Men” Aren’t Just the Problem
“You look just like Chinatown.”
“Let me taste your pussy.”
For me, living in Philadelphia often means getting sexually harassed on the street. Almost every week, I am the object of an unwelcome comment or stare from a strange male. This attention sometimes comes from men I do know, such as my neighbor, who deserves his very own blog post. Some comments are more banal than others, but all of the energy directed at me carries the ultimate message — “you are not a person.”
“Ride my dick!”
This post by Soraya Chemaly at Salon hits the nail on the head about street harassment. I completely agree with her comments that street harassment is indicative of how our culture subjugates women. However, what she fails to discuss is how street harassment often makes up for or masks other social subjugations. The black man who asked for spare change and didn’t receive any from me and then lashed out at me verbally with lewd comments — he doesn’t have any social power. So he turned to the one framework in which he felt he did. Recognizing the other social subjugations for men at work in street harassment doesn’t make it okay. However, I am concerned with the pervasive way men are criminalized, when I feel that they are just as frequently caught up in and at the mercy of larger social forces which likewise seek to dehumanize and flatten them as individuals. Yes, men regularly behave criminally towards women and those actions should be punished. But for true justice to occur, I think the conversation needs to expand to take in a broader view of subjugation more generally in light of larger historical sociopolitical flows. Global capital, race, urbanity, etc etc. Let’s not just beat men over the head about this stuff. Let’s have a genuine discussion about power.
I find that street harassment is usually a compensatory gesture for the men who use it against me. The men who have harassed me are disproportionately ethnic minorities, of lower socioeconomic status, under-employed or unemployed. They are sometimes under the influence of some psychotropic substance.
Philadelphia is a city at some risk. Our public school system is actively being dismantled by forces that want to see everything privatized. (For more about this IMMENSE CRISIS, please visit The Notebook.) We are still teetering from the financial crisis and housing bubble collapse. There are more and more yipsters (young urban professional (? I never know how these folks are employed) white hipsters) moving into the city, pushing out longtime residents. Once while biking home, I saw a white guy in a beard and flannel shirt holding a large package get SCREAMED AT by another white man in a car. The white man in the car was a prototypical working class Fishtown-ite who was foaming at the mouth at these “asshole kids” moving into his neighborhood so he can’t afford it anymore. A friend of mine — a tenured professor — recently moved into a block where she noticed that a home was for sale for over $600,000. To turn the gas on at her apartment, she had to take a signed copy of her lease to the utility company because they described her block as “low income housing.” The breaks between those who have and those who have-not and those who are actively having-things-taken-from-them are very thin.
It is in this framework that I can appreciate why I get harassed here more than any other place I have ever lived. While in Boston, I was hardly spoken to on the street. The same goes for New Orleans. But here in Philadelphia, it’s endemic.
The compensatory function of street harassment is terrifying — what other violence will such men take up against me in order to vent their social impotencies and frustrations? I won’t even get into the other optics of race that shape how I am perceived by these men. I’ve had glass bottles thrown at me and once feared I would get pulled off my bicycle by a white man who was *clearly* angry, sick, and high.
These men are behaving badly. They are dangerous. But they are also caught in a system that is bad to them and dangerous to our humanity. Simply condemning them isn’t helping us think more clearly about the broader social ills that have placed these men in such precarious and socially abjected positions. Yes, women still occupy some of the lowest rungs on the social pole, which is why these men turn to harassment in order to empower themselves — but that doesn’t mean that these men’s stations are actually any “better” for it. If we want to genuinely stop harassment, we can’t just criminalize men and their behavior, but get at the root causes for these actions. Telling a poor, frustrated, politically impotent man (often of color) to be polite to women is potentially just one more way of policing him. Where and when does he ever get to be bad, mad, and powerful? I’m not licensing harassment. But we need a broader view for the conversation to have meaningful social change derived from it.
I am writing this in the wake of four Indian men who are going to be executed for raping and killing a young Indian woman. These men are murderers. They are also without social prospects and opportunity. If these men had a stronger political consciousness, would they be trawling around town in a bus looking to attack women? This case ignited a global furor that will now be slaked with their deaths. And whose heads rolled when the global economy nearly collapsed? The perceptual blade of criminality and justice only cuts one way — down.
And another point — personally, I have noticed one major, unexpected consequence of being the object of this type of harassment, which I wanted to describe a bit.
One of my responses to street harassment had been to narrow the focus of my attention when I walk through the city. It was a defensive gesture on my part — of not letting myself make eye contact with men in public, of not turning my head and looking around. All of this was in order to convey an aura of “she is so terrifically focused and bad ass that nothing I do or say will penetrate her attention.” I used to try to actively embody a certain kind of shark-ness as I walked — a sleek attention that was dormant and too powerful in its inattention to provoke any comment. You can marvel at a shark, but the shark is too otherwise to even know about it or care. Its silence eats your words. It is of the deep and alien sea, without ears.
This had the negative effect of making me less attentive to the details and environments of my daily life. I noticed this when I was walking through town with CA Conrad a few years back. He kept pointing out and commenting on amazing graffiti, colored lights, and details on buildings that caught his attention. All I could see was a gray street and the road ahead of me. This made me incredibly sad. CA’s world was textured and vibrant, magical. Mine was dark and quiet, encased like a bullet in its shell.
People often list low self-esteem, depression, and body image problems as results of sexualized harassment. I noticed an awful narrowness of my attention. Time and space were flattening for me. I didn’t allow it to surprise and challenge me. I did not want to let my city in.
Now, given so much that has happened in the past few years, I see how I do not have skin, that I have been misled my entire life by all the forces of society and “learning” that sought to teach me otherwise. I am actually porous with my location. It is coterminous with my consciousness. Its horizons equal the limits of my spiritual focus. You are as much a part of me as I am of this earth.
I still get pissed off when I am harassed, but I also try to forgive my harassers with the same generous kindness I seek to permit for myself when I fail to be “good” — when I am bad, mad, and powerless. And then I write and think about these things and talk about them with friends and try to effect a change.
I want us to be emotionally round and psychologically full, not spiritually flat and politically thin. I want to be free to move through a textured and surprising world. I want men to have these same freedoms, too.
Can we work against the awful narrowness of attention that this world constantly seeks to impress upon us?
Wish You Were Here! Public Poetry Workshop This Saturday 9/14
Interview with Sun Yung Shin for This Spectral Evidence
I’ve been walking through something.
It has been brightly lit. I see and see fully.
With all this brightness descending into me, I haven’t had much ability to focus on other things.
I wanted to highlight, though, that an interview correspondence between me and sister poet Sun Yung Shin is up. THIS SPECTRAL EVIDENCE is an online journal that is slowly, carefully curating together conversations around poetry and its possibilities.
I am quite frank and forthcoming in this interview. We began our dialog just as I began moving through some big swells in my life. They’ve brought me into a new openness. Hopefully a generous one.
