#documentary poetics

[jonathanmoya1955]

Wind This poem began with the sensation of wind as a physical agent—something that rearranges a room without permission. I wanted to write into that pressure, letting objects register the disturbance while the human world remained unconscious.

Wind

[jonathanmoya1955]

Sillage

SillageHer sillage—soap, rose petals— jet fuel wake beyond the barrier door—the anywhere she’d beenand came from.How she raised her left hand to her nose for cover —continued the task—Flightthrough the airwhere no ideas held her.

Sillage

[skankypossum]

Spike Berlin, Friday June 2: A Poetry Reading with Q & A by Hoa Nguyen

Spike Berlin, Friday June 2: A Poetry Reading with Q & A by Hoa Nguyen

Spike is pleased to present a poetry reading with Q & A: YOU THEN A DANG BY HOA NGUYEN FRIDAY, 2 JUNE 2017, 8pm Spike Berlin, Rosa-Luxemburg-Straße 45 The poet Hoa Nguyen will speak about documentary poetics and read from a series in progress in which she draws upon archival information, research, and personal narrative to address a convulsive period in Vietnam as well as a verse biography of her…

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[jenhofer-blog]

projects on mexican human rights / drug war

counter-archives

[1639cc]

at Shawnee Lookout

it's got a feeling of early spring here. Almost as if the crows are foraging for tiny shoots among the trees shaping their coos and caws in rambling extended sequences that thicken and thin in collective intensity. 

undergrowth crows, their flapping bodies twisting for insects. trainers clogged with gloopy silt render my bloat vulnerable to slip in the almost drying out basic at the bottom of the ramp where canoes enter the water.

the waves

of crows

approaching through the tree lines i thought the phrase 'of squawking subsidence' but there's something wrong with thinking that.

[weareviral]

Every 12 minutes. He kills me.

I understand this experience might speak to a very narrow slice of queer history—along the waterfront in New York City in the 1970s and early 1980s, for men who had sex with men. But don’t think the invitation is to cruise with me. As I step back into the past, my red suede wingtips somehow vanishing into dusty, black leather boots, I want you to find your own spaces, reclaim your own histories. As I see it, the disappearance of these public spaces along the margins of society happened in cities around the world. 

==

I cannot abandon my grief for people lost to AIDS

like my great uncle jimmy

  With ferocity

I might embrace the mess of grief-stricken life

but I will not disappear.

  I will give the inhabitation an opportunity

so I do not become

as Nelson says

a figment. 

==

Jimmy Garski, 62, passed away at WFH All Saints on Saturday, March 9, 2013.

Relapse of ‘cured’ HIV patients spurs AIDS science on.

A car could have sped by and the next thing you know,

five men from Jersey jump out and beat you to a pulp.

  run run run run run         (from David Wojnarowicz’s stitched lips

To include this image is to let it leap from its flatness into our arms.

  To let past tense

become futurity.

    I repeat: The story of how this text arrived in my hands is as important as the narrative of loss contained within.

==  

“We are an army because we have to be. We are an army because we are so powerful. (We have so much to fight for; we are the most precious of endangered species.) And we are an army of lovers because it is we who know what love is. Desire and lust, too. We invented them. We come out of the closet, face the rejection of society, face firing squads, just to love each other! Every time we fuck, we win.” (Queer Nation, 1990, New York City)

==

"Blood is a force, a house."- Julianna Spahr

Why, then, is our blood so dirty? Why has the house been demolished, replaced by glittering high rises these men can never ascend?

"they found this, they" (ibid.)

this way to escape, out of,

they found, how

  "I’m still in revolt.

The fury’s there."

- Maggie Nelson

==

Read to me, from the past:

“It is a miracle you are standing here reading these words. You should by all rights be dead.” – Queer Nation

[placeforwriters]

A NEW SERIES HOSTED BY THE PLACE FOR WRITERS, ENGLISH GRADUATE PROGRAM AT MILLS COLLEGE

We are thrilled to announce that this semester we will offer 3 interdisciplinary writing workshops where a faculty member from the departments of English or Dance will facilitate creative writing workshops.

This is a way to bring MFA students and artists together to integrate craft and creativity.  Anyone interested in creative writing is welcome to participate! The first installment of this series, The Encyclopedia Project: Collective Composition & the Literary Journal as a Community Art Form, is scheduled for Thursday, Feb. 9th from 6pm-7:30pm in the Bender Room, with English Faculty Miranda Mellis. This workshop will begin with a short talk on some aspects of the history, politics, and aesthetics of a unique, interdisciplinary publication, The Encyclopedia Project, followed by an investigative writing exercise and discussion. Miranda Mellis is the author of three books of fiction, "None of This Is Real" (Forthcoming, Sidebrow Press), "The Spokes" (Forthcoming, Solid Objects), and "The Revisionist" (Calamari Press), and a chapbook of documentary poetics, "Materialisms" (Portable Press at Yo Yo Labs). "The Revisionist", illustrated by Derek White, has been translated into Italian and Croatian and was the subject of a 90-foot mural by Megan  Vossler. Mellis is an editor at The Encyclopedia Project and has received the John Hawkes Prize in Fiction and an NEH grant. She teaches at Mills College, the California College of the Arts, and in the Language & Thinking Program at Bard College.

[poeticdoxa]

One of the things I’ve tried to do in my work is to reconfigure the traditional relationship between a narrative piece, whether it’s documentary or fiction, and the sound. The traditional relationship is that you put your thing together and then at some point you score it. The assumption always is that the sound component either confirms or establishes something that’s already in place. I’ve tried to seek a more dialogue-driven relationship between sound and image. The impulse for that comes from two distinct but interrelated sources. One is an abiding passion for the improvisatory gesture in jazz; the second is non-western musical forms, particularly Indian classical music. I’ve tried to see what happens if you bring those two together in some way; what kind of film making aesthetic that might suggest

-John Akomfrah, Sound On Film