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Postcard is an edited and continuously up-dated section of brief comment received on work in recent issues of HOW2, as well as excerpts from letters circulating privately among writers/readers and with HOW2 editors/writers. Your postcards and excerpted letter exchanges on literary questions appropriate to this journal's focus are welcomed. Please send to Kathleen Fraser <kfraser@sfsu.edu>
from
the editors/Kelsey St. Press Open
Submissions Announced for younger/less-established writers The
Kelsey Street Press announces a two-month period of open submissions--from
November 1 to December 31, 2001. We are looking for unpublished book-length
collections of poems or poetically-informed prose. We are especially
interested in receiving submissions from younger or less established
writers. Manuscripts will be selected in early 2002 and published in
2003. We
are interested in books with some cohesion in their overall composition
and style whether it is a sense of narrative or consists of a set of
interrelated series or parts. We appreciate writing that tells a story
but not in the usual way, which subverts a particular kind of genre,
has a sense of wit or irony, is honest but not naïve, but is also
direct, surprising, vital and graceful. The press is especially interested
in work in which the writing, the page and the form of the book are
in dynamic relation. Kelsey
Street Press was founded in 1974 to publish experimental writing by
women and has a history of publishing poets' collaborations with visual
artists. Recent publications include Juice by Renee Gladman, Symbiosis
by Barbara Guest and Laurie Reid, and Tales of Horror by Laura Mullen.
Collaborations will not be accepted in this call for manuscripts. For
more information on the press, please view our website at: ____________________
CONTINUING
RESPONSE TO "FOR THE RESURRECTION OF WORDS"
10/28/01 from Toni Maraini/Rome Sites for Afghan poetry and art If
you look at http://www.geocities.com/Athens/7261/
you will
In 1999, the Afghan Students Association at George Mason University,
Fairfax, Va., presented an art show of works by thirty Afghanistan artists.
From this show, an on-line exhibit was assembled with a selection of
works by 14 of these artists--one woman, Asma Zaka--called Cross
Roads of Asia/ The Afghan Art Exhibition. See Lemar-Aftaab / April-Sept.
1999 /Vol 1- Issues 8 & 9 . To find this work, go to www.asaweb.org
Be careful in making a distinction between independent sites and propaganda
ones. I have seen that the ones that are honorable and serious all start by stating clearly that they condemn terrorism and participate to the sorrow of American people; you can go ahead in that case. Buon lavoro
10/25/01 from
Anne Dewey/ Madrid Empathic
Angles vary from Students Abroad Dear
How2 editors,
10/25/01 by Robin Andersen/Fordham, NYC Finding
Empathy in the TV Coverage of the World Trade Center Attack The
TV images of the World Trade Center burning were horribly familiar yet
they stood without parallel. Black smoke billowed from both buildings
and I thought I saw a free-falling body twist its way past the gaping
hole in Tower One. Yet the studio voices that accompanied the images
did not mention it. Had they not seen him or her?
TV anchors, some calm, some excited, repeated that a plane had
crashed into the North Tower, then hit the second one. It was live footage
of real buildings burning in real time, but they stood silent, with
no natural sound, at the surreal distance evoked by long camera shots.
As I watched, another explosion tore through the second tower and flames
silently consumed a lower portion of the building. The only frame or
reference for such images is the fictional narratives of computer-generated
action films in which cities are mutilated and destroyed. Independence
Day, one such cartoon-like adventure, demolished New York and Washington,
the very cities I now watched burning. Our
perceptions have been permanently framed by the sensibilities of those
commanding fictions, and TV practitioners are certainly under the sway
of the techno-hyper-real. It seemed as if we were living through Life
the Movie. These events had already happened and this was some sort
of spectacular sequel. Openly awed by the visual spectacle, “it
was quite a sight,” one intoned. Some awareness, just below the
level of waking, continued to nag at my reception of the pictures, aren’t
there people in the buildings? The TV voices were not helping even as
they recounted, over and over, the actual events. A pilot on a remote
phone connection with Channel 4 had seen, “the plane screaming
by at full power.” By the time he looked out his apartment window,
about 4 or 5 seconds later, it had hit Tower One. As he spoke the buildings
burned benignly against the sky of the clear September day. Though there
was emotion in his voice, it was hard to bring actual human beings into
this zone that was essentially fictional, uniquely visual, and usually
without real consequences. After all, we didn’t mourn for the
thousands who died in Independence Day. But didn’t I just see
someone, an actual person’s body falling to the ground? The
people we did hear from were the ones already out of harm's way Eyewitnesses
told how they had fled the building. A misguided sense of responsibility
might have prevented reporters from attending to those still inside.
Was it some desire to prevent mass hysteria? Later that night, when
I finally got through to my friends in SoHo, I heard their sorrow at
seeing dozens of people crowded at the windows on the floors with no
exit routes. A man very near the top had waved a white cloth through
a broken window for at least 45 minutes. He never got out. After 7 hours
of watching television, I had not heard any such stories. Whatever the
reasons, television did not see fit to allow us to grieve for the people
left trapped in the building at the time it went down. We will never
be able to have that collectively summoned moment of silence they all
deserved. There
was much concern for the NewYork skyline. At Newark airport one journalist
pointed a camera over the tails of a fleet of United jets to find empty
sky, where this morning he told us, we would have seen the World Trade
Center. Throughout the day TV openly lamented the loss of the buildings,
yet the fact that people lay buried under the rubble was almost never
mentioned. One police officer requesting anonymity estimated losses
in the thousands. Whether the media decided for themselves, or simply
followed official admonitions, the effect was the same. One journalist
actually used the term “collateral damage” for those killed,
diminishing the humanity of those lost. A
New Yorker covered in soot ran down the street. He came in and out of
the frame, and as he did I could see his lips move but the sound was
off. The studio voices were always laid over the images, they interpreted,
explained, but never let me hear the people on the street. Some considered
media worthy were brought into the studio or moved out of the direct
action and interviewed, but only short snippets of what they said were
aired. We were told that a storeowner was giving out water, but I did
not see such meaningful moments. I wanted to be with my fellow New Yorkers, sharing their struggles
for survival, and grieving for the ones lost. Instead, there was the
endless repetition of the most dramatic images. In addition to The Towers
Burning were images reminiscent of other movies including, Armageddon;
clouds of dust and rubble billowing from between the buildings, pursuing
people running away in the street. Repeating the picture over and over
with no sound removed it from real experience and turned it into a fascination.
By days end one of the newsmagazines had produced a slick sequence molded
into familiar entertainments, “doctors and interns lined up like
on a set of a disaster movie. I
didn’t want to be a detached observer, awed by the spectacle,
entertained by cleaver references, calmed by the stories deemed appropriate
by gatekeepers. I wanted to be a thinking, feeling citizen, part of
a human community pulling together in a crisis. I wanted local reporters
in the streets getting the story on the ground. By the next day, local
news was doing just that, giving out help-line numbers, reporting on
family members searching for loved-ones, and in general being good citizens. This
disaster has no frame of reference adequate for its expression and able
to grasp its meanings. The fictional frames are just that, entertainments.
We grasp for a way to express human dignity in the face of terrible
loss. We do have storylines and image conventions for death, ones applied
to people outside of our own communities. When the media air grizzly
pictures of famine, disasters, death and war elsewhere, they are usually
presented with little context, from a detached perspective: people crowded
together, under attack, starving, suffering horrible indignities. These
people are presented as the Other, through narratives of exclusion,
as little more than sights for our fascination. Ethical battles have
been fought, some won, some lost, about airing graphic depictions of
human horror. Many have been deemed too ratings worthy to be shelved.
We have no words, no media frames that can recognize the sadness of
death as it happens, while preserving the dignity of those it is happening
to. Media sensationalism often overcomes our feelings of empathy and
compassion. Are these the reasons we could not acknowledge that the
buildings were full of people? The
city is beginning to come to terms with the loss of life, as family
members search for those still missing and unaccounted for. No doubt
there are pictures and footage that we have not yet seen, of the horrible
events that occurred on Tuesday. More footage of the people who jumped
out of the buildings is starting to be aired. The audio track of screams
and chaos are beginning to accompany the repeated disaster footage.
Let us hope that these horrible sights don’t become the source
of revenue, or ratings boosters when commercials make their way back
on to our television screens. Hopefully we will now be more aware of
the need for empathy and compassion when we tell stories of death, loss
and destruction, not only for ourselves, but also for those who find
themselves in front of our cameras in other parts of the world. [Note:
Robin Andersen teaches media studies at Fordham University and is the
Director of the Peace and Justice Studies Program]
10/23/01 sent from camille roy Announcement (RAWA) A speaker from the Revolutionary Association of the Women of Afghanistan will be speaking at Mills College on Nov. 1 and also at Theatre Artaud in San Francisco on Nov. 4 (details to come for the Nov. 4 event). This is a group which runs schools and clinics in refugee camps in Pakistan and also documents the conditions for women in Afghanistan.
10/22/01 Sent in by Megan Adams, from <salon.com> The Taliban's bravest opponents An underground
resistance of Afghan women risks torture and execution Armed men
in turbans force a woman from the truck, and make her kneel at the penalty
line on the field. Confused and unable to see, the woman tries to look
behind just as a rifle is pointed against the back of her This public
execution is some of the most shocking film ever seen on In documenting
life under the Taliban, Shah went into the homes of the But some
of the most heartstopping footage in "Beneath the Veil," RAWA was
originally founded in 1977 as an Afghan feminist group RAWA, the
most prominent Afghan-run organization to oppose the By traveling
with RAWA, Shah got a first-hand view of what it's like Q. What
is your life story, and what do you do for RAWA? A. I'm from
Kabul. I started to work with RAWA when I was 19 years old. When I was
young I decided to do something about this. A lot of young Q. Why do
you use the pseudonym "Fatima"? A.We all
use different names all the time, because we have a lot of Q. Have
you ever been personally attacked by the Taliban? A. I was
flogged three times in the streets, for stupid reasons. They In Pakistan
in1999, I was injured at a RAWA demonstration. Pakistan Q. What
has been RAWA's most crucial activity in Afghanistan? A. We teach
hundreds of women and children in the underground schools in Afghanistan.
For children, we teach mathematics, physics, chemistry, We also
bring in video cameras to expose the crimes of the Taliban. We make
a hole in the burqa and film through it. That's why the Q. What
are you doing in the refugee camps in Pakistan? A. We have
schools for girls in the fugitive camps; but in some we have Q. What
are your feelings about the attack on America? A. We are
so sorry for the victims of this terrorist attack. We want to On the other
hand, unfortunately, we warned the United States Today we
can see this with our own eyes. We warned them but they never listened
to our cry, to our voice. Q. How is
the crisis in America affecting your work at RAWA? A. Thousands
of families are escaping from Afghanistan, leaving everything behind because
they are afraid of war. Thousands of others that are living in Afghanistan
don't have the possibility to immigrate here; and now, even the borders
are closed. That means that our people have to burn in the flame of war
and all the doors are closed. In fugitive
camps it's really hard to work, especially hard because Our people
escape from Afghanistan because of the fear of killing and Also we
are so worried about our members inside Afghanistan, about Q. Are you
concerned about a war with the United States? A. We are
condemning an attack of the U.S. on Afghanistan, because it We also
want to convey a message to the American people that there's a Q. Do you
support the Northern Alliance? A. We condemn
the cooperation of the United States with the Northern The Northern
Alliance are hypocrites: They say they are for democracy Q. What
government do you support, then? A. We are
ready to support the former king. It doesn't mean that the king Q. What
does RAWA need right now? A. We are
in a very bad financial condition. We need anything we can get (To donate
to RAWA, visit the RAWA's Web site, <www:Rawa.com> The Afghan Women's
Mission, or The Feminist Majority.) Do you want
to go back to Afghanistan? I miss Afghanistan
very much, it's my country. I love my city and my
9/19/01 [
Sent in by Susan Gevirtz 10/25/01,
via <faces-l@yahoogroups.com>
] A
statement of Medica Mondiale Kosova Women's Center: Call
for a non-violent response in the aftermath of the attacks on the World
Trade Center, USA. We
wish to express our shock and extend our deep sympathy to the relatives
and friends of the victims of the brutal attacks in the United States.
It is hard for us to see the suffering, even from across the seas, even
as trauma counselors ourselves. And we cry for the people of many nations,
ethnicities, and religions who died. The people of Kosova have put up
posters of sympathy with the people of the United States, and we have
held vigils of solidarity with the victims from around the world. We
have lived through war. We have been greatly helped in our recovery, by
the United States representatives, who talked against revenge and promoted
reconciliation as essential to achieve a future with true peace and democracy.
We
know what it is like to be attacked, to grieve and to feel anger. Every
day we attend to the physical and emotional pains of the women in our
communities who continue to suffer from the violence of war. We listen
to the stories and work together with women to find ways to productively
channel negative emotions. Women in Kosova, still suffering from the symptoms
of severe trauma, know what military responses do to innocent people and
how long-lasting the consequences are. Therefore
we understand the urge for revenge is strong. And we know that it must
not be given in to. We know that a violent response can only bring more
violence. It does not bring justice. Instead it kills more innocent victims
and gives birth to new holy avengers. It begins a new cycle and
perpetuates more hate, more insecurity, more fear and ultimately
more death amongst civilians. We
urge in the strongest possible terms for the United States and its allies,
to temper their anger and to refrain from the folly of a sweeping military
solution‚. Terrorists are not nations. And nations must not act
like terrorists. We
do not wish to have you see your young men go to war and lose their lives,
like thousands of our sons, fathers, and husbands did. We are horrified
that there is talk of attacking and putting at risk millions of people’s
lives because of the acts of a few. We do not wish to have war on a country
or countries full of innocent adults and children, who already suffer
at the hands of their leaders and whom themselves have committed no crimes.
We know that bombs are not smart, we know they kill women, children, and
old people and we know only too well, that it is mainly the women who
bear the task of rebuilding societies torn apart by war. This is our work
at present and it is very hard work. We do not wish to see countries'
economies devastated, and its people made poorer for generations to come.
We do not wish to see Americans attacked, killed or made afraid in the
United States because of their religious or ethnic identities. We wish
for all nations to be proud and to build a society and a politics that
respects individuals and groups, and promotes diversity. American politicians and decision makers, grieve for your dead, and find ways to protect the living! But we ask you not to put us and your citizens at more risk. What you are threatening to unleash is making us afraid for the world. Do not endanger the people of Asia, the Middle East, and northern Africa. War will surely imperil us all and future generations also. Please remember your past and learn from ours, and work to leave a legacy of justice and peaceful construction, not of revenge, destruction and war. ___________________
RESPONSES TO "FOR
THE RESURRECTION OF WORDS"
10/9/01 from Cynthia Hogue In a Battle of Wills There Are No Winners It is four weeks since the terrorist attacks on September 11, 2001. Like most of us since these attacks, I have been more aware of being alive as a gift. I have reached out to loved ones to tell them I love them. And like most of us, I am scared and wish I didnt feel so helpless. Because as I write, the U.S. has started bombing Afghanistan. The bombing does not make me feel safe. It makes me feel unsafe. One of the radio commentators remarked on the day the bombing started, apropos of the origins of war, that the Vikings didnt have a word for the meaningless escalation of violence that comprises the plot of the greatest Icelandic saga, Brennu Njalsaga. Njals Saga is the story of a wise man with an unwise family. What starts out as a small retaliatory exchange between two households escalates, despite Njals best peacekeeping efforts, until two whole clans are involved in the rivalry. At last Njal and all his household are burned alive by their enemies. When the plot is reduced to its broad outlines, the horror of the violence of killing so many people is writ large (one of the themes of this saga). When we reduce the September 11th attacks to the nineteen young Muslim fundamentalists--the sect is so sexist we need not denote their sex--who highjacked four passenger airline jets and killed over 6000 people in one hour, these terrorist acts seem to us clearly mad. Crazy mad. The actions of lunatics. From our perspective. Angry mad, from their perspective. Why do they hate us? Americans asked after the attack. How do people reach this level of anger, hatred and frustration? asks Professor of Conflict Studies John Paul Lederach. To call them lunatics misses a crucial point: By my experience, explanations that they are brainwashed by a perverted leader who holds some kind of magical power over them is an escapist simplification and will inevitably lead us to very wrong-headed responses. Anger of this sort, what we could call generational, identity-based anger, is constructed over time through a combination of historical events, a deep sense of threat to identity, and direct experience of sustained exclusion. From the terrorists perspective, they are a David heroically fighting the bully-giant Goliath, who is spreading Western imperialism. If we do as they expect, which is to use our power against a weak people or nation, we can expect without a doubt that they will engage in the future in ever-escalating cycles of revenge and violence. The Vikings in fact did have a word for the senseless feuding that drives the plot of Njals Saga, which is the word used to rationalize the violence by the characters. It is the same word as motivated the terrorists on September 11th, the same word as is motivating U.S. and British retaliation. It is a word for an heroic concept, a warriors code. That word is honor, along with the component parts of the ancient heroic code: pride and shame, loyalty and betrayal. One of the men interviewed on the radio the day we started the bombing was a veteran of the Gulf War. When asked if hed go back to war if drafted, he said, Of course. Its the warriors code, to rip the living heart out of the enemys chest. Im a warrior. Honor requires us to retaliate, or the enemy will think he can get away with murder. But honor, too, will require the other side to avenge such retaliation because we deserved the punishing justicethey dealt us. At the dawning of the twenty-first century, we discover that we understand the sagas world of the blood feud and violent retaliation because, to our shock and horror, we are suddenly living it. However much we refuse to hear them, from the Muslim extremist perspective, the U.S. has been made to pay for past grievances to the Muslim world, for which we had never shown remorse. Now, we are making Afghanistan pay for harboring terrorists. But Afghanistan did not attack the U.S. So, the U.S. will eventually be made to pay for its harming Afghanistan. How far and how long will this exchange of violence go? We desperately need another model for what is deemed an honorable response. That model also lies in Njals Saga as well, in Njal himself. The saga was written after Iceland had converted in 1000 A.D. to Christianity. Thus, although its action takes place before the conversion, its theme is influenced by gentler Christian tenets. Njal is a pagan precursor of what I will call radical Christianity (to distinguish it from the bigotry of most versions of fundamentalist Christianity, much like the terrorists Islamic fundamentalism must be distinguished from the gentler Muslim faith). Njal counsels tolerance and negotiates nonviolent alternative responses to violence. He wheels and deals for peace. Although the violence of his pagan family eventually takes him down with them, he represents an alternative that redefines the heroic code of honor. We need that alternative now. What are the possibilities? For a start, we could redefine honor as being able to hear both sides, both perspectives, not just our own. We could view violence itself as dishonorable, and every holy war--both sides have bandied this phrase about--as sacrilege. Certainly when we are the target, we call violence barbaricand heinous. Why is it justified when we perpetrate it ourselves? We could consider our own possible responses in terms other than violence. And to those who say we will look weak to the world if we negotiate, we could answer: We need another definition of strength. Strength is the courage to wait and to make a considered response. Strength is not throwing our military weight around. Strength is seeking insistently--and, why not? aggressively--negotiated, diplomatic solutions. We need to honor the memories of our own victims by listening to their families. Many of the families of the September 11th dead are not calling for retaliation, but for peacemaking. Touched so deeply and irrevocably by this tragedy, these families understood more immediately than any of us that no violence will return their loved ones to life, no retaliatory strike could suffice to comfort them in their grief. They say again and again that their dead would not wish other innocent people to die for their deaths. In escalating the violence, we risk making the deaths of over 6000 civilians truly meaningless, for we will have failed to understand the lesson in their deaths: that how we feel now is how civilians in Baghdad felt when we bombed them, how civilians in Serbia felt, how civilians in Japan felt. Is it not dishonorable
that we were indifferent to the pain we caused? We need to redefine honor
as caring about the consequences of our actions in the world, and as not
hypocritically mouthing the rhetoric of democracy when we take geopolitical
action. Not only should we care, because we can identify with grief felt
around the world. We must care--not as a rule of law, but as Barbara Kingsolver
puts it, as one of a hundred ways to be a good citizen, . . . to
look finally at the things we dont want to see. We might yet throw ourselves into supporting sustainable peace between Israel and Palestine, and stop now the bombing of Afghanistan, thereby being as good as our word and proving to the Afghan people in our actions that we are not making war against them. In this way, we might begin to defuse the reason that young Arab men give their own lives to kill American civilians. Lederach writes I believe that monumental times like these create conditions for monumental change. . . . Let us choose democracy and reconciliation over revenge and destruction. If we have not ruined already this monumental chance for change by meeting violence with violence, that old model of honorable blood vengeance, the terrible deaths we have suffered will not have been in vain. As Ghandi said, We must be the change we wish to see in the world. Mary Olivers question in her poem The Summer Daynever seemed so urgently timely: Tell me, what do you plan to do/ with your one wild and precious life? peacewoman@earthlink.net
10/4/01 [as sent in from
Elizabeth Treadwell Jackson, via Susan Landers, from original posting
on the EPC list] Language has been
on the feminist political agenda for years. It can't One observes the
endless parade of Presidents, Mullahs, generals, prime SISTERS - SPEAK OUT YOURSELVES & DEMAND MORE DISCUSSION OF THE CURRENT STATE OF THE WORLD AND THE WAR ON TERRORISM NOW. INSIST THAT YOUR FEMALE ELECTED LEADERS GET MORE VOICE & INK! A feminist critique
of language calls into question our assumptions about RECLAIM NAMING. CHECK OUT WHAT LEADERS ARE SAYING AS WE ENTER INTO ANOTHER WARRING PATRIARCHAL GOD MENTALITY. DECONSTRUCT OLD GRAMMARS, METAPHORS, IMPERIALIST IMPERATIVES! POETS: STAY ON THE CASE! We know that the
privileged and powerful have had a vested interest in Capitalism thrives
on a political discourse that marginalizes alternative thinking and people
who can be exploited without "voice". Our modern state emerged
from the ashes of the feudal state and was built on a class and patriarchal
model, Political representation began as the right of property-owning
MEN. Now the capitalist state addresses itself to a generalized citizen/consumer--presumably
classless, sexless, a hip citizen of the increasingly troubling world.
It's not working! Look at the mess we are in. Also to protect this "version"
of reality the IS ANYONE UNDER THAT CHADOR? Anne Waldman
This is very important
to understand, because, as I will say again and again, our response to
the immediate events have everything to do with whether we reinforce and
provide the soil, seeds, and nutrients for future cycles of revenge and
violence. Or whether it changes. We should be careful to pursue one and One of the most
intriguing metaphors I have heard used in the We need a new metaphor,
and though I generally do not like And then listen to
words they use. The way to break such a One aspect of current
U.S. leadership that coherently matches This is the reality
we face: Recruitment happens on a sustained In keeping with the
last point, let me try to be simple. I Sound like an odd
diversion to our current situation of terror?
FOR THE RESURRECTION
OF WORDS Note: The email exchange, below, came out of an immediate and urgent need to respond to recent terrorist events in the U.S. As members of the How2 Editorial Advisory Board began, spontaneously, to share their thoughts with each other, it seemed clear that this sudden blow to our human psyche had swiftly become the CENTRAL condition around which all thought/feeling was flowing in us--privately and communally--and that in order to make the How2 "postcard" email exchange relevant to our readers--to even imagine anyone wishing to use it, at this moment--we would need to keep it deeply connected to issues we are all worried about & thinking over within "the continuous present" of writing. This may include the location of suppressed questions that are not necessarily coming up in pre-defined and socially-pressured public discourses (classrooms, bars, dinner tables, TV or radio shows--to/in which we are witness &/or participant). Excerpts from these initial communiques have been put together, below, as both witness and invitation to our readers to participate in this exchange of questions and perspectives. One can imagine, for example, postcards from readers who are teaching, describing useful written projects (with sharing of selected results)-- ways of finding & making of written language acts for overwhelming states of fear, grief, confusion or political scepticism. KF ________________________________________________________ 9/20/01 excerpt from Elizabeth Frost / NYC .... I am terrified, numb, & aghast at my lack of language at this time. I want to explore that feeling of lack. I feel deep rage about the discourse that is bombarding us -- the military machine of cowboy rhetoric, the "dead or alive" bravado, the ubiquitous image of the flag -- despair that I have no discourse to oppose to it. No symbol to wear or hang from the windows, one that would express grief & solidarity w/o yoking those to a jingoistic & hysterical patriotism. I am enraged that an Islamic friend has stopped wearing her head scarf for fear of her safety. That a colleague tells me that all his dark-skinned, dark-haired students have shaved their beards & cut their hair -- for safety. That the Morrocan family that runs 2 restaurants in our neighborhood has the biggest & most plenteous flags at their establishments -- for safety. I am enraged at the absence of a counter-symbol. I am grief-stricken to hear the stories of a student who was trampled by the fleeing crowds, who walked in bare feet all the way home to Queens, volunteered to take blood donations for several days with no sleep or respite, & was then yelled at in the subway for being "middle-eastern looking." Of another who works fielding phone calls from the families of those missing & could not control her sobbing. In a classroom. In that place. In that place of words. I am appalled by their tears, I am exhausted, I am appalled by my presence before them, I am speechless. I am stricken anew this morning with the news that one of my students died in the attack. She worked at a financial firm. I am appalled that she was at work while I was at home. That for the last four years she was slowly earning her BA in one evening course at a time. That this evening I must tell her classmates I have no language for this.
9/20/01 excerpt from Jo Ann Wasserman / NYC I am in NYC too. The city where I was born. I was on 7th Ave. and Greenwich Street when one of the buildings collapsed and there was only the sound of thousands of us in the street gasping as it tumbled. Our own human sound louder than the structure's rumble. ....On Thursday night, I went to the opening of a friend's art show. It was the opening of her first major solo show and had been in the works for over a year. Many of us attended just to see each other. I arrived at the space in far west Chelsea (which can look like a war zone on the best of days) to see my friends wearing surgical masks in the absolutely toxic smoke. But it was important to see my friend's paintings. To see the attempt. Something good and full of intention. Later in the week I was talking to this same painter friend and she expressed disappointment that her show had gone ahead as very few people have attended since that night and it is her first big show. Then she began crying, saying, "why should I worry about something so stupid?" That is what it has been like for me here. Feeling the fear (evacuated twice from locations which were threatened after Tuesday), feeling shocked, ashamed, exhausted, heartsick (walking past thousands of flyers with pictures of the "lost" lining 11th Street all the way to St. Vincent's hospital) and then ricocheting to concerns about the trivial and banal. Why can't I get below 14th Street to the apartment where I am staying and get clean underwear? Why is this bank line taking so long? Why did the woman put so much milk in my coffee when I asked for "just a little?" ....My friend David just phoned to see if I was going to a peace march tomorrow in Union Square. I said, "Yes." He asked if I was bringing a sign but I have no sign to bring. Nothing clever to say. Not one thing. I am so sad. People in the street are sad and quiet here. No music blaring out of bodegas, no excited conversation, not even many children yelling and playing. ....I feel really sad. And to offer my deepest condolences to any of you who have been touched personally in this tragedy.
9/22-25/01 excerpts from Renata Morresi / Univ. of Marcerata, Italy .... I was struck by the fact that both Elizabeth Frost and Jo Ann Wasserman wrote about their difficulty to define, to express, to find adequate words and symbols, which now lie broken and useless. I think we should try to find those words and symbols again (where? in the past? in ourselves? in other cultures? should we create brand new ones?). Not logos, trademarks, labels, slogans, badges, banners, allegories of death... ...but, rather, metaphors, words to cope with reality, attempts to understand and resist interpretations--EVEN theories ("theory" being the 'bad' word few want to hear in times of crises). But lack of theory is bad theory, and we--the world--can't afford such a lack now. ...IÕm trying to express how these recent disasters have changed our relation to language. Think of definitions given in the past few days: terrorist attack, permanent global war, Holy War... (none of them seems proper)... and how everyone is trying to cope with this void of language, working out responses that generate from internal (psychological, but also physiological), external, socio-cultural variations. Now those responses are floating and opaque; sometime later they'll harden into definitions (the making of History). I think that's a good reason for us to be watchful and keep on writing. And 'as life goes on' I can't avoid thinking about the dozens of petitions I have signed for years in defense of Afghan women, to expose their inhuman condition: I wonder where those petitions landed, what we are to do for the forgotten words. ....Let's keep on writing about what is going on (inside, outside: is there a difference?)...striving to find words to express it, to give a shape to these fragmentations.
9/22/01 second excerpt from Jo Ann Wasserman / NYC In response to Renata Morresi In response to Renata Morresi, I agree that theory must move forward and is critical to our sorting out process as we receive so much incorrect and non critical information from the agents of mass media in the States. We certainly need sensitive and revolutionary thinking right now. One thing that I was struck with while attending the peace march last night was the insistent use (on the part of the demonstrators) of dualistic languageÑ"Bush wants war, New York wants peace!" or "justice: yes, war: no!" My friend and I tried to start a round of "we feel scared" and "dignity for humanity" (doesn't scan well, I know) to no avail. If theory and critical discourse could help us to move outside of binary thinking (or defining) as that which we are against, rather than for, it would be transformative. What I want is to be defined as FOR something, not always against. Even in listening to the chant, "Peace not war," I wondered, "what does peace mean right now?" The way things were on September 10th in New York City as thousands of people woke up living on the street? The way things were in Macedonia last year? On the Gaza Strip today? In the Sudan? In Pakistan? Last Tuesday night I felt like there was no place to go and feel "safe" for the night. It is a strange feeling for me but I know many around the world and in the States experience that all the time. A thought flashed through my mindÑI wished it was New Year's Day so that I could attend the big, 24 hour marathon poetry reading which takes place at The Poetry Project at St. Mark's Church in New York City every year. I wanted to be there partly to be around friends but also to be in a space of hearing poems, nonstop. I have been thinking about the place poetry has in a situation like this one. How the mysterious nature of that language might also be part of a response. Yesterday I heard that On October 3rd there will be a group reading by about 50 poets (many of whom are also critical writers) at St. Mark's. The idea is to respond to recent events here. I don't know what people will read or say but I am eager to find out. If anyone will be in NYC and wants specific info., I would be happy to e-mail it out.
9/25/01 from Ann Vickery / Sydney, AU & Pennsylvania ....I have been thinking about the strength of words and the strength of a symbol like the flag--there may be little or no appropriate words at this time but there have been plenty of flags. Flags have long been a potent symbol of solidarity and mourning. I think back to how Cathy Freeman carried the Aboriginal flag in both Olympic games, symbolically reminding all in Australia and the rest of the world of her history and Aboriginal Australians' continuing presence. Her gesture was far more effective than any sentence she might have spoken. And it seems to me, that for many Americans, the American flag has had a similar function at this point of time. I'm not suggesting here that a minority Australian proudly showing her 'colour/s' to the world (while her country's government still fails to acknowledge or say 'sorry' for past injustices) is the same as an average American showing the flag in his/her own yard. But that the flag is an outward sign or gesture of solidary, gesturing in the American case a sympathy towards those most affected by the events of 9/11. At the same time, I also find it dissettling. I am now constantly reminded that I am an "alien" in the United States, that as a sign of solidarity, it excludes me. I've noticed too that many have begun wearing ribbons in the colours of the flag in the same way as there were AIDS ribbons, and apparently, Gulf war ribbons. As a symbol, I think the ribbon, like the flag, focuses on it being an "American" tragedy, that it elides the many non-Americans who died in the World Trade Center collapses and the suffering of their families. I realize that the World Trade Center and the Pentagon were targets precisely because they were American icons, but in reinforcing it as simply an American tragedy, the use of the flag or its colours as a symbol merely encourages the objectives of such terrorism--to heighten national and cultural divisions. I think new approaches to combatting terrorism must go beyond, as Jo Ann suggests, a simple dialectic of peace vs. war, to some global coalition of the "civilized" against an unknown other. More importantly, to actually rethink what the very basis of being civilized might mean or perhaps even more, what it might mean to be human today. How to relate this to writing, I'm less sure. Lastly, I just wanted to say how much I appreciated Renata's timely email about modernist writers working through issues of politics and aesthetics in the face of fascism. A different, though related set of issues, certainly arises in relation to terrorism. Both, I think, are different again than the questions arising in the face of a slow, sanctioned genocide such as occurred with the Holocaust, arguably also happening in other parts of the world today.
9/25/01 from Kornelia Frietag / Potsdam, Germany I am still confused, and yet feel that I should finally somehow contribute to our exchange about the terrible events of 2 weeks ago, even if I am relatively far away in Germany, and have no one close in New York. Although my original speechlessness has given way (had to give way) to efforts to talk with my kids, my family, my friends, and colleagues, I am feeling a complete inability to balance and to connect emotional and rational responses in an acceptable way. I cannot manage this balancing act between (the expression of) complete devastation, sadness, compassion, and helplessness on the one hand, and an analysis of the political, historical, social, and religious context on the other. But I am sure that it is this balancing act that is most urgently needed. It is needed because the one without the other does not hold, or rather is extremely one-sided if not dangerous. In Germany, at present, next to the hands on anti-terrorist, measure-taking approach (be assured of U.S.anti-terrorist military support + more police: cameras, security checks, screening etc.), the emotional discourse (in words, gestures, actions, and symbols--all very material), is the officially sanctioned one...as long as it is "for the U.S. not against them." Hence my daughter and her classmates talked for hours in class about the events per se, without any background information on Afghanistan, Bin Laden, and/or the Middle East, but when a fellow student raised one question about U.S. policy in the region, he was reprimanded and, for the rest of the lesson, overlooked by the teacher who threatened to bring him before the headmaster. That two-thirds of the former East German citizens--who have experienced their share of offical binary interpretations of history and current events--are strongly opposed to a war (on Afghanistan or any other "villain state") is mostly interpreted as the expression of an insufficiantly developed sense of democracy and/or latent anti-Americanism. Yesterday the culture section of my local newspaper opened with a one page article on "The Cowardly Thinking," claiming that German "artists and intellectuals flee into anti-American prejudices." What the diverse intellectuals quoted there (in bits and pieces, completely out of context) have done is: to put the events--in Washington, New York and the Pittsburgh area--into a wider context of US policy plus voicing the same fears of race hatred, vicious patriotism, and militant jingoism that have been expressed in our e-mail discussion. The erronous logics of a terrorism which takes the symbols of US global power (the World Trade Center, the Pentagon) as material representation of the "evil" ("US imperialism") and hence aggressively destroys them, is cynically repeated in a counter-attack scenario (prescribed by the Bush government and followed by its allies, Germany among them) which takes the very same symbols as material representation of the "good" ("democracy", "civilization") as those to be aggressively defended. It seems to me that the arbitrariness of symbols, the contextual differences of meaning, the contingency of positions--historical, political, social, gendered, ethnic, class-related--and the ambivalence of emotions needs urgently to be thought about, talked about, written about before and while re/acting to what undoubtedly was an onslaught on humanity, a terrible, inhuman act. It is especially hard to make (perceive and create an awareness of) a difference, or rather to make differences in writing (the use of words and symbols) that subvert the simplifying dominant discourse, when this very discourse is so emotionally charged. And yet these differences need to be made, thought, spoken, and written--risking the judgement of "cowardly thinking," rather than not thinking at all. Greetings and thanks to all of you who are struggling to find (the) words,
9/25/01 excerpt from Linda V. Russo / Buffalo .... What makes sense is to continue to assemble a life in the aftermath. The writing is such an assembly, though it is never "after" but current, and a current we ride to--where? Directions don't make sense now. Every direction is suspect. I'm in Buffalo, on the US/Canadian border. The day after 9/11 I tried to take a walk along the Niagara River (our border) to find the otherwise well-trafficked area all but empty except for scattered Vet-types with binoculars trained north.... My co-ambulator and I were advised against walking on the pier, which had been my desire, because of a bomb threat to the Peace Bridge that runs above it on over to Canada. It was eerie, we felt unsafe, and we left. We felt unsafe for the next three days and never parted company, except to go to classes, to teach, which was almost fruitless--on Thursday I cried, looking out onto the tiny sea of my students to take attendance, just glad that they were there. They were sobered, and we went on--I teach composition--and learn we did. .... Basically, I've been thinking, how would How2, if she could talk, want the Forum to function? This is where we interpret her "constitution." While on the one hand I value hearing intelligent women-poetry-thinkers critically address all manner of issues--I love especially the way this forum, email, lets those issues evolve, accelerate--I wonder how can this be brought forward in a way that's true to How2's urgencies--to poetry and women? And yet, oddly, Ann's suggestion that we need to "actually rethink what the very basis of being civilized might mean or perhaps even more, what it might mean to be human today" really urges me. Perhaps that's not so odd, though, when one considers how poetry is being cast about amidst all the rhetoric of memorial and war in the U.S.. According to National Public Radio, to be human and male is to write Poetry; to be female is to talk and to grieve. Our only nationwide forum for news and culture, NPR has brought poetry to the foreground, in the voices of Billy Collins, Robert Pinsky, and, today, W.S. Merwin, offering profound reflection and dour sentiments. Women, when they form audible words, sound in untrained yet eloquent prose. These are the wives left behind. What NPR forms is an apparently unbridgeable sexually-differentiated cultural divide. At what point do contemporary women enter to define a national/poetic response? We stand, like Greek women outside the gates of the polis, mourning. Olson said to Carolee Schneeman when she went out to Gloucester with her then partner in the late 60s, that it was when the cunts began to speak that Greek tragedy began its decline. Anne Carson's fascinating essay "The Gender of Sound" illuminates: "Greek women of the archaic and classical periods were not encouraged to pour forth unregulated cries of any kind within the civic space of the polis or within earshot of men. Indeed, masculinity in such a culture defines itself by its different use of sound." I've often wondered what stake male poets have/had in "masculinizing" their practice, keeping it pure of certain (read "feminizing") emotions. I'm not essentializing here (women write "emotional" poetry), but just noticing how the burden of emotion is often pushed onto women while at the same time this burden is used as an excuse to prohibit women's cultural production, where culture is seen to proceed in a rational, or in some sense formalized, manner.
9/28/01 excerpt from Arielle Greenberg / Boston Two issues I face here and now: 1) Spinning off of Linda Kinnahan's remarks about what it means to be an innovative writer who is also political: How to be a non-narrative poet in the face of such REAL, linear surreality, you know? I don't even WANT to write about it all, but it's the only thing I AM writing about, in one way or another, and I feel slightly irresponsible for going sideways/non-linear rather than being directly story-telling about it all. To this end, I am planning to read Celan, whom I think of as a brilliant avant-garde reporter of very direct and personal tragedy. Can anyone suggest other poets who have done this, especially women poets? 2) I am also thinking a lot about what it means to be a global citizen. I am not so naive as to think that America can or should pull out of all foreign policy...at this point that's simply not realistic, nor is it generous. So how can a country like the USA use its power for good instead of evil? How can I be a part of urging it to do so? I want to also note, in regard to Linda K's comment about Pinsky (whom I almost always find self-righteous), that I did hear a pretty good alternative to the voice of HIStory when Boston's NPR call-in show, "The Connection," had a day dedicated to the uses of poetry at times like these, and guests were Marie Howe and Naomi Shahib Nye.... One of my favorite moments on that show was when the (male) host brought Nye on the line, and instead of either Howe or Nye addressing the questions at hand-- or the host--Nye said, "Hello, Marie, I have been thinking of you in New York" and Howe said, "Hello, Naomi darling, I have been thinking of you." Such a human--and, dare I say, female--moment.
10/1/01 from Hilda Bronstein Dear all I was in China on the 11th, in an area where we unable to receive CNN News, or indeed any other English-speaking channel. Rumours abounded, and to see the TV images with no commentary or explanation was terrifying. I rang my daughter in London, and she told me what she knew of events. As we spoke, news reports were coming in on her TV from the USA. She told me that a White House spokesman was about to appear, and asked--did I want to hear what he was saying? Hungry for any information, I replied in the affirmative and she held the telephone receiver close to the TV. It was not what he said that made me weep, but just that I suddenly became aware--in that moment--of the distance that | |||||||||||||||||