Some girls walk into the country they are from. By Sawako Nakayasu.
OPÉRATION/CASE: 2011-3421 (Interlocutors: Jimmy Moffatt, John Athanasiades, Jeffrey Paul Delisle, Unidentified males)
Poems by Hung Hung ( 鴻鴻 ). Translated from Chinese by Fiona Sze-Lorrain.
Collected poems of Binoy Majumdar. Translated from Bangla by Aryanil Mukherjee.
Le cercle des Arabes disparus … et retrouvés
Translated from French by Donald Nicholson-Smith
“Ici la Voix des Arabes libres. Nous vous parlons de quelque part, et le temps nous est compté. Car, n’hésitons pas à le dire, nous faisons partie d’une espèce menacée de disparition. L’air se raréfie autour de nous tant la pollution est généralisée, la pire pour nous étant celle du langage. Que d’oiseaux mazoutés peinent à remuer leurs ailes dans nos gorges. Que de roses assiégées par les immondices n’ont plus à coeur de libérer leur parfum. Que de mots nobles et sincères sont traînés dans la boue, prostitués et vendus à la criée sur les panneaux de réclame.”
“This is the Voice of Free Arabs. We are speaking to you from somewhere, and our time is limited. For, let it be said, we belong to a species threatened with extinction. So pervasive is the pollution that the atmosphere around us is ever more tainted, the worst in our view being the pollution of language. How many oil-soaked birds struggle to spread their wings in our throats? How many roses besieged by filth have given up striving to release their perfume? How many fine and truthful words are dragged in the mud, prostituted and commodified on billboards?”
This Sea is Mohammad al-Khatib’s
“But who is Mohammad al-Khatib? We know he is a young man, twenty years old, and that he is from al-Khalil. And he wanted to go to the sea, with his friends. We can then assume that he deliberated at length over the question: how to get there? We can imagine, under the present circumstances, two possibilities of a sea that Mohammad al-Khatib might visit.”
The Gangrene: Unofficial Fragments
A Commemorative Edition
On June 16, 1959, La Gangrène was bravely published in France for the first time by Jérôme Lindon for Éditions de Minuit, a French publishing house that operated secretly under the Nazi occupation in 1942. La Gangrène documented the tortures endured by Algerians under the hands of French police. On June 20, the book was confiscated by the French government under President—and Minister of Algerian Affairs—Charles De Gaulle. On June 23, French police smashed the plates intended for printing a second French edition. The following spring, New York author and independent publisher Lyle Stuart re-published the book in English, breaking through a state-imposed silence.
Prophet Seekers, and other poems
It is a common tale, that of poets, journalists, church-leaders, anyone with a barely audible opinion being “disappeared” from Lesotho—though with markedly less attention and furor for its martyrs from Western media and human rights organizations than for countries that hold more immediate economic cache. Cast by a continent upwards to the edges of the sky, a poet’s cry echoes who… who… who… has heard of the Koeeoko?
Don Mee Choi
Ahn Hak-sŏp #4 is an experiment in translation outside of language. In this experimental fragment, author Don Mee Choi combines the emotionally charged testimony of Mr. Ahn Hak-sŏp with her own imaginative interpretation of his words. Don Mee Choi relates a real account of detainment and torture, while using abstraction to point towards the unspoken. What becomes eliminated in the act of translating testimony?
not meant as poems
“Political tracts as state souvenir—
they cite from Time Out and the Upanishads—
free of charge,
red ones at the first checkpoint,
brown ones at the exit.”
Four poems in Burmese translation
ko ko thett
“to die is to be incinerated to be reincarnated
a multi-purpose stadium for metal concerts and the virpassana for the masses, two ivory chopsticks shall
be contracted to conduct the people’s symphony orchestra a brand new opera house to be modelled after a durian it shall be named after our own houseman, a nine-lane boulevard of broken bones shall be the city’s artery hot-beds will be moved to the out-skirts”
The Modernist Arches of Asmara
A Green Violin Special Object
The Modernist Arches of Asmara is a special edition poster (11.5 x 16.5″) designed in accompaniment to Abraham T. Zere’s collection, Anecdotes of Indefinite Anarchy: Dispatches from Eritrea. Poster uses drawings selected from covers for Abraham T. Zere’s chapbook. The images are selected from 286 renditions based on the signature of Eritrean President, Isaias Afwerki.
Anecdotes of Indefinite Anarchy
Abraham T. Zere
In Zere’s texts, we find the banality of a larger cruelty, one that permeates from the visible – the actors of government and disappearing journalists – to the very small and almost invisible – collecting bread or following a daily routine. With despair and humour, these Anecdotes tell of the perversion of values, the devaluation of human life, the ridiculous constraints that are intended to restrict free expression and protect the regime (often, also reflecting the very ignorance of this regime, and its determination to bloat itself out of proportion).
a ticking does not absolve the bomb
We are culpable in choosing speech, in choosing the form of collective memory. In a world that operates more through the violence of speed, discarding the concentration of intent, instinct demands that we speak with urgent brevity, through visible codes.
To Justify Land (series)
The essay series begins with a hydro-electric dam expansion and condominium development currently under construction on a few islands on the Ottawa River, between the cities of Ottawa and Gatineau. These islands have long been sacred to the Algonquin people who lived here before the establishment of the Canadian nation. The series examines the rhetoric and capitalist logic that justifies the continued development of such infrastructure, and the region’s history of economic and physical displacement of working classes.
A Draft for Asinabka
A narrative mirror of appropriation and erasure reveals the rhetoric of legal and public discourse around Windmill’s corporate ZIBI development on unceded Algonquin land. A vision of a nation sold – rivers dammed, water privatised, the sacred disremembered, the rich honoured. A project of documentary and archival reconstruction, A Draft for Asinabka references experimental poetics, where fragmentation tells a history on the precipice of past and present.
Nathan Medema and Lital Khaikin