Friday, May 4, 2018

Poem by Dareen Tatour, Arab poet in Israel, that got her convicted of "incitement to violence" after she posted it on social media:

Resist, My People, Resist Them

Resist, my people, resist them.
In Jerusalem, I dressed my wounds and breathed my sorrows
And carried the soul in my palm
For an Arab Palestine.
I will not succumb to the “peaceful solution,”
Never lower my flags
Until I evict them from my land.
I cast them aside for a coming time.
Resist, my people, resist them.
Resist the settler’s robbery
And follow the caravan of martyrs.
Shred the disgraceful constitution
Which imposed degradation and humiliation
And deterred us from restoring justice.
They burned blameless children;
As for Hadil, they sniped her in public,
Killed her in broad daylight.
Resist, my people, resist them.
Resist the colonialist’s onslaught.
Pay no mind to his agents among us
Who chain us with the peaceful illusion.
Do not fear doubtful tongues;
The truth in your heart is stronger,
As long as you resist in a land
That has lived through raids and victory.
So Ali called from his grave:
Resist, my rebellious people.
Write me as prose on the agarwood;
My remains have you as a response.
Resist, my people, resist them.
Resist, my people, resist them.
From the evidence against Tatour, courtesy Yoav Haifawi.
From the evidence against Tatour, courtesy Yoav Haifawi.
Tatour is also a photographer and directed a short documentary, according to Electronic Intifada.

Monday, December 25, 2017

 Evidence of the Hand in Art/Life in Light of the Livre D’Artiste, by Sophia Kidd, is in an issue of Comparative Literature: East & West, Issue 2 and is Open Access.
"We also have to wonder why some museums who own complete sets of the limited monthly have yet to unbox them. Fortunately there are others, such as the Los Angeles County Museum library, who have the entire set permanently showcased for public access on request.
Those institutions which do invest in the dissemination of Art/Life, in development of discourse about this early form of social media, will find that collaboration between disciplines such as art, philosophy, textual production, library science, material science, and social science will yield the most organic data concerning early Fluxus, New York, and Southern California avant-garde art. This early analog experiment in social media has yet to reach the zenith of its powers."

Saturday, September 3, 2016

https://www.academia.edu/s/03f2b552c6/maggie-jaffes-continuous-performance?source=link

Maggie Jaffe's Continuous Performance is a major contribution to the poetry of resistance.  The above link takes you to survey and analysis that probes her resistance to scat of empire in series of works from the 1990's to her death in 2011..

Wednesday, August 10, 2016


Morning In America: A Poetic Assemblage from the Long Decade  
by P.J Laska, Igneus Press, 2016

Reviewed by Bob Henry Baber, NOW & THEN: The Appalachian Magazine,
Vol. 32, No. 1, 2016.

Let me state my bias up front: P.J. Laska was my Professor at Antioch/Appalachia and a fellow member of the Soupbean Poets, became a mentor, and has been my friend for over 40 years.  That being said, Laska is a literary genius, Zen master, historian, political prognosticator, and Appalachian rebel rolled into one. He is a true red, white, and black and blue American patriot writer; a cultural prophet without recognition in his own land and time. But in a moment in our history when two 1-per-centers are about to vie for the Presidency in a corporate-funded media circus (which, btw, is just as interested in the size of Kim Kardashian’s butt or Christmas card line, as they are in if people have real jobs, healthcare, and educations) can this really come as a great surprise?
Whatever. Laska’s politically imagistic poems distill it all to essence. Witness these two gems:
Foraging at Starbucks
Round the trash barrel/at days end/pigeons, sparrows/and a bag lady/content
***
At the Wall Street Café
Bold and unsharing/the urban sparrow/under the table/covets the too big/crust of bread.
***
It don’t get any clearer than that. Wall Street excess and Citizens United rendered in imagism that will not be erased.

Near the beginning of this eclectic book one of Laska’s many characters, who may emerge from ancient history or the shuffling halls of our currently and chronically underfunded VA hospitals, states, “A poet’s nothing apart from people, apart from place.”   The time from which this book begins is the 1980’s when Ronald Reagan’s, “axe of austerity began falling on America’s middle class . . . and on the working, non-working and disabled poor.”  Fall it did, but few heard and fewer still recorded it. Laska did. And in what might be called “mourning in America” he connects us with its horrid thud and the damage done that has only accelerated in pace and depth in the ensuing decades.  We see the exposed flesh. Smell the blood. Feel the hunger. Shiver. Lose heart.  If FDR saved capitalism from itself, who will do so now as the Koch brothers’ think tanks and Super-Pacs rapidly undo the fraying social safety networks set in place almost a century ago, Laska asks, with frighteningly good cause.

”It was a time when churches began/installing loudspeakers in place of bells that daily tolled the noon hour. / It was a time of felony fraudulent schemes in banking and abstract bite marks made with the stroke of a pen. / It was the time of the multi-billion dollar Federal Bailout of the bankrupt de-regulated Savings and Loan used by former hard money lenders as their own personal piggy banks. / It was a time when a little critical common sense could have glimpsed the disasters that lay ahead,” Laska writes, referring to the 2008 meltdown of “Banks Too Big to Fail” which precipitated a 1 Trillion Dollar bailout (paid for by us) that made the pre-cursing schemes of the 80’s seem like the primitive pyramid schemes of three year olds playing with colored wood blocks.

Laska’s book is a tough read. It ain’t for the faint hearted and it’s quite intellectually challenging at times.  I think I’m reasonably smart, but Laska stretches my mind till it hurts.  Fortunately, he also gives intellectual exercise some much-needed comic relief and gallows humor.  I laughed out loud three or four times while reading the book, a rarity for me.  Like another great Appalalchian poet, Jim Webb, once wrote, “You can’t make this stuff up!” Neither can Laska whose fascinating footnotes at the end of the book (almost 40 pages of them) are just as interesting as the dialogues and poems themselves. Documentation with a punch, if you will. Prose poetry robbed from the headlines of the newspapers. Political forensic files.

Finally, I wish to end with this guardedly optimistic quote from his preface, “Given the disasters of the Long Decade as it continues into the 21st Century, the title “Morning in America" is bitterly ironic, but I do not foreclose on the possibility of a non-ironic meaning for it in the future.”  Hear, hear, Dr. Laska. Hear, hear.

Monday, April 25, 2016

PJ Laska's Morning in America, a poetic assemblage from the long decade, documents the past resurrected from the crypt to dominate and harass the living. 

Thursday, February 11, 2016


MORNING IN AMERICA
A Poetic Assemblage from the Long Decade
Igenus Press/Eccsbooks,
Morning in America is a unique poetic work posing a challenging question:  What if the past is not, as Aristotle said, "that which has been," but that which has been lifted from the crypt to serve the purposes of the future-blind?  That the past lives on is not news.  That it should be reanimated and subsidized to keep Wall St. in the money is a different kettle of fish, one that drives an eco-conscious political poet like Laska to satire, irony and splenetic invective.  His mix of anti-lyric and dialogue assemblage fills a gap in contemporary verse culture.  As the celebrated poet-critic Donald Hall observed, "Curse and invective are strangely missing from American poetry...we lack public denunciation."  Morning in America reviles the depredations of the unregulated "free” market, which the poet condemns as an "infernal machine" tethered to a chthonic political religion, an old world solecism masquerading as a "new world order."   The book as a whole forms an idol-wrecking constellation of counter-truths that expand the range of resistance and return poetry to its avant garde critical function.