A Radical Cut In The Texture Of Reality

April 29, 2021

Four PME-ART events in May/June 2021

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Mercredi 12 mai, 17 h, Virtuel:
Un second sentiment d’authenticité: Authenticity Is a Feeling à l’épreuve de la traduction avec Daniel Canty et Jessie Mill
Conversation conviviale
Diffusée sur la page Facebook de PME-ART

Facebook Event


Monday, May 17th & Tuesday, May 18th at 5pm:
A User's Guide to Authenticity Is a Feeling
La Chapelle Scènes Contemporaines



Friday, June 4th at 10am:
En réponse à Vulnérables Paradoxes
With the participation of Aisha Sasha John + Burcu Emeç + Dayna Danger + Elena Stoodley + Kama La Mackerel + Kamissa Ma Koïta + Lara Kramer + Mai thi Bach Ngoc Nguyen + Malik Nashad Sharpe + Marilou Craft + Milton Lim + nènè myriam konaté + Po B. K. Lomami + Sonia Hughes
Online at the Facebook page of PME-ART

In collaboration with OFFTA / LA SERRE – arts vivants

Facebook Event


Mardi 8 juin, 17 h, Virtuel:
Un sentiment d’authenticité : ma vie avec PME-ART
Présentation Jessie Mill / Lecture-performance Martin Bélanger + Marie Claire Forté + Nadège Grebmeier Forget + Kamissa Ma Koïta + Elena Stoodley
En collaboration avec Terrains de jeu du FTA
Facebook Event


Download: In Response to Vulnerbale Paradoxes (coming soon)

Sur commande ici: Un sentiment d'authenticité : ma vie avec PME-ART

Order: Authenticity is a Feeling: My Life in PME-ART

Bonus: video of short reading plus my answers two short questions about Authenticity is a Feeling to celebrate the French translation.












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April 20, 2021

Cornel West Quote

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I’m going to close with the notion of “utopian interruptions.” What I’m talking about is always tied to failure. It’s no accident that the figures that I invoke – Beckett has an aesthetic for failure, doesn’t he? So does Chekhov. So does Kafka. That wonderful letter that Benjamin writes to Gershom Scholem, July 1938: “You’ll never understand the purity and the beauty of Kafka if you don’t view him as a failure.” Of course, if it wasn’t for Max Brod, we wouldn’t even have the text. Kafka believed he was a failure through and through.

Or, as Beckett says in his last piece of prose fiction Worstwood Ho, “Try again. Fail again. Fail better.”

Try again. Fail again. Fail better. Like Sheldon Wolin’s fugitive democracy, prophetic religion is a fugitive affair – an empathetic and imaginative power that confronts hegemonic powers always operating. Prophetic religion is a profoundly tragicomic affair.

The dominant forms of religion are well-adjusted to greed and fear and bigotry. Hence well-adjusted to the indifference of the status quo toward poor and working people. Prophetic religion is an individual and collective performative praxis of maladjustment to greed, fear, and bigotry. For prophetic religion the condition of truth is to allow suffering to speak. Yet it is always tied to some failure – always. There are moments, like the 1960s in capitalist civilization or the 1980s in communist civilization that prophetic awakening takes place. It doesn’t last too long, because the powers-that-be are not just mighty, but they’re very clever and they dilute and incorporate in very seductive ways – or sometimes they just kill you!

– Cornel West, Prophetic Religion and the Future of Capitalist Civilization



[From the book The Power of Religion in the Public Sphere.]



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April 6, 2021

POSTPONED*** I Can't Stand the Idea of Putting Words in Someone Else's Mouth


I Can't Stand the Idea of Putting Words in Someone Else's Mouth


POSTPONED*** The roundtable performance I CAN'T STAND THE IDEA OF PUTTING WORDS IN SOMEONE ELSE'S MOUTH between Jacob Wren, Luis Carlos Sotelo Castro, nènè myriam konaté, Rajni Shah and Veronica Mockler that was originally scheduled for today (April 14th) at 4 p.m. has been postponed. A new date for the performance will be announced shortly.

We are very sorry for the inconvenience and hope that you can join us at this later date.


This roster of artists, writers and researchers comes together to consider the practice of 'unscripted' listening and speaking. At once an ontological workout and a probing of recent performance work, the table will tackle questions such as: What is listening from a place of not knowing? What is the relevance of 'unscripted' speech today? For these practitioners, embodying the 'unscripted' is a necessary state of struggle for it resists the productivity of colonial interaction.


Sign up here.

Facebook event.



Poster by Dublin-based graphic designer Conor Lumsden.



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April 4, 2021

fortune cookie

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I’ve been wondering a lot lately about whether or not - at some point in the not too distant future - I should leave PME-ART. And then the other day I got a fortune cookie which said “Depart not from the path which fate has assigned you.”



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April 2, 2021

Reverse Portrait

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[This text was originally published in the Kim Waldron book Another Woman _ Another Woman.]



A woman has a portrait in her attic. As she gets older the picture gets younger. Not her image in the picture but the picture itself. There are no other words to explain this. You look at the picture and somehow you know you are looking at a different, a reverse, understanding of time. The wooden frame gets younger, the pigment, the brushstrokes, the idea to even make the work in the first place. Up there in the attic, where almost no one ever goes, the self-portrait carelessly leans against a wall getting younger. Meanwhile the woman continues living her life. Her life is the important part of this story, though it will be difficult to tell the story in a way that makes this at all times clear. The problem is: she knows about the picture in the attic and so do we. It would be an exaggeration to say she thinks about it constantly, but she does think about it, from time to time, more than from time to time. For her, this picture represents something like her “ideals,” it is her ideals that are getting younger, but for us, at least so far, it represents almost nothing. It is a MacGuffin, a red herring, a picture that is getting older, but everything is getting older, every minute of every day. No, already I’ve gotten myself confused. The picture is not getting older, as you already know the picture is actually getting younger. That is the counter-intuitive, the magical, part of this story. The part that makes no sense.

Have I mentioned yet that there are many pictures of the woman, existing out there somewhere in the world, paintings (well, mainly just the one painting in the attic), photographs, drawings, illustrations. She even appears in images she apparently doesn’t appear in, in the background, or just a sliver of her at the edge of the frame. These images have been made for a wide variety of purposes. For example, one is an image that was part of a planned advertising campaign. However, when the company saw the image they vetoed it. They thought of their product, and they thought of the image, and came to the kneejerk conclusion that one would not be able to sell the other. (They did not mean that the product would not be able to sell the image, though that was probably true as well.) This unused advertising image was placed not in an attic but in a filing cabinet. Let me try to get back to the woman’s life, which we still know relatively little about. The part of this story that is most important is the part we so far know least about. As I have already mentioned, the part that is most important is this woman’s life.

One day the woman decides to attempt an experiment. She goes up into the attic with a large format camera and photographs the portrait. It is a woman photographing a portrait of herself, as the portrait is getting younger, to find out if she can photographically capture this magical painted reversal of age. As she does so, she realizes that for much of history portraits were created from paint, then for much of more recent history portraits were captured on photographic film, while now portraits are captured digitally and often called selfies. (We already know the proportional gender of the historical painters in relation to the proportional gender of the historical subjects. This is a contemporary story and things have not changed nearly as much as they should.) She was not a painter, so she asked herself: what would it feel like to paint another persons portrait? Or to paint her own? To consciously or unconsciously mix your own personality with the personality and image of the sitter? Or with the personality and image in the mirror? She had the photographs she took of the painting in the attic developed and had to admit she found the results rather unspectacular. It just looked like a normal painting, there was no evidence that it was getting younger before her (or the cameras) eyes. Just as in a normal photograph of a normal person there is no evidence that they are getting older before our eyes. The process moves too slowly. (Is it worth noting that the eye of a camera is called a lens?)

The woman knows that there are many images of her that exist somewhere out there in the world. She has seen many of them. She has also created many of them. Some of these images have even been sold for a small profit. Once she received an email from someone who owned an image of her, someone she had never met. “You don’t know me,” the email began, “but in some strange way I feel that I know you. Every day, as I drink my morning coffee, I can look to the far end of the dining room where a picture of you hangs on my wall. Maybe you already know this and maybe you don’t, I’m not quite sure.” She did not already know this. The email continued: “I know it is not actually you looking at me, out from that image, across the entire length of the room. It is not you, but I feel somehow judged by that gaze and therefore, in some sense, I feel I am being judged by you. It goes without saying that I am most likely only being judged by my own guilty conscience. You might have already guessed the particular reason for this feeling of being judged. It has to do with wealth, with my ability to purchase your image alongside many other remarkable works of art. The amount of money this work cost is almost nothing to me, pocket change. The reason you might not know that I drink my coffee every morning under the judgmental gaze of your image is because I purchased it on the secondary market. That is why I know, of the amount I paid for it, none of the money went directly to you. In my life, especially as I get older, I feel guilty or regretful about many things, and for some reason this is one of them. Therefore you will find attached, if you choose to accept it, a money order for the exact amount I originally paid for your work. As I said, for me it is nothing, but I suspect for you it will be a substantial sum. I see no reason you should not accept.” She stopped reading, transferred the money order into her account (what the email said was true, for her it was a substantial amount), and shut down her computer. She did not reply to the email, on that day or any other. She could not afford to refuse the money but she certainly did not want to thank him for it. She never heard from him again. In her ideal world, he would assist her financially while continuing to feel guilt. Maybe this guilt would lead him toward other good deeds in the future. She could only hope.

In the attic the painting continues its journey toward youth. (For a moment she wonders: does the painting know it’s getting younger. But how could it know.) Every few months she heads up to the attic for a visit. She sits across from the painting and, on this particular day, she even finds herself talking to it. This conversation is private, just between her and the painting, so I will not recount it here. Of course she does all the talking, the painting does not respond. Or it only responds by getting younger at an imperceptible rate, though at times she almost feels as if she can sense it changing before her eyes. In the attic there are many other objects that have been brought there because they were no longer needed in the rest of the house. I will not list them all. I will focus only on one particular item: a polaroid camera that no longer works. At one time it was a novelty to be able to take a picture and almost instantly see the results. Now this is obviously no longer the case. She picks up the camera and holds it in her hands. It hasn’t worked for a very long time. She examines it from every angle, rotating it calmly from hand to hand. What was once an exciting new thing is now little more than an item of nostalgia. Strangely, as she examines it, it suddenly goes off, a picture smoothly whirring out the front slot. She puts down the camera and holds the picture in front of her, staring at it, watching as it slowly develops. She is not surprised to see that it’s a picture of her. But not her now. Her from fifteen years ago, the last time she remembers using the camera, the last time she remembers it working. It is strange to see her younger self slowly come into focus within the white frame of the polaroid. Just as it is also strange to look up and see a painted version of her younger self, leaning against the wall. And then she has a strange thought: aren’t all images of our younger selves. Every image, no matter how imagined or arranged, is simultaneously a documentary image from some moment in the past. Even a selfie is an image of us a few seconds ago when it was first taken. She does not want to live in the past. She prefers to live in the present, if such a thing can even be said to exist. She leans the still developing polaroid against the painting and heads downstairs back to her normal life.

Dorian Gray had a picture in his attic to tell a story of corruption. This is not a story of corruption. The picture in the woman’s attic is just another picture, just another image, albeit one with certain magical qualities. It depends how you choose to tell the story. I’ve chosen to tell it badly, perhaps because I’ve chosen to tell it using only words.



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March 24, 2021

Reading Bhanu Kapil (from 2015)

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Reading Bhanu Kapil (from 2015):

Day One

Day Two

Day Three



[In honor of the publication of Bhanu Kapil’s book Ban en Banlieue, published by Nightboat Books, the writers Amina Cain, Douglas A. Martin, Sofia Samatar, Kate Zambreno, and Jenny Zhang gathered together in a conversation to talk about the work of the British-Punjabi writer. The conversation was published in three parts.] 


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March 21, 2021

Mariame Kaba Quote

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So, maybe I just have a different perspective and I talk to a lot of young organizers - people reach out to me a lot because I’ve been organizing for a long time - I’m always telling them, “Your timeline is not the timeline on which movements occur. Your timeline is incidental. Your timeline is only for yourself to mark your growth and your living.” But that’s a fraction of the living that’s going to be done by the universe and that has already been done by the universe. So, when you understand that you’re really insignificant in the grand scheme of things, you just are, then it’s a freedom, in my opinion, to actually be able to do the work that’s necessary as you see it and to contribute in the ways that you can see fit. So, I think that’s my answer to that.

And self-care is really tricky for me, because I don’t believe in the self in the way that people determine it here in this capitalist society that we live in. I don’t believe in self-care, I believe in collective care, collectivizing our care, and thinking more about how we can help each other. How can we collectivize the care of children so that more people can feel like they can actually have their kids but also live in the world and contribute and participate in various different kinds of ways? How do we do that? How do we collectivize care so that when we’re sick and we’re not feeling ourselves, we’ve got a crew of people that are not just our prayer warriors, but our action warriors who are thinking through with us? Like, I’m not just going to be able to cook this week, and you have a whole bunch of folks there, who are just putting a list together for you and bringing the food every day that week and you’re doing the same for your community, too.

I want that as the focus of how I do things and that really comes from the fact that I grew up the daughter of returned migrants, African-returned migrants. I don’t see the world the way that people do here, I just don’t. I don’t agree with it, I think capitalism is actually continuously alienating us from each other, but also even from ourselves and I just don’t subscribe. And for me, it’s too much with, “Yeah I’m going to go do yoga and then, I’m going to go and do some sit-ups and maybe I’ll like, you know, go to…” You don’t have to go anywhere to care for yourself.

You can just care for yourself and your community in tandem and that can actually be much more healthy for you, by the way. Because all this internalized, internal reflection is not good for people. You have to be able to have… Yes, think about yourself, reflect on your practice, okay, but then you need to test it in the world, you’ve got to be with people. So, that’s important. And I hate people! So, I say that as somebody who actually is really anti-social… I don’t want to socialize in that kind of way but I do want to be social with other folks as it relates to collectivizing care.

- Mariame Kaba



[From the remarkable book We Do This 'Til We Free Us: Abolitionist Organizing and Transforming Justice. But you can also find the interview here.]



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March 19, 2021

The moment I no longer wanted to be famous...

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The first chapter of the book I’m currently working on is entitled “The moment I no longer wanted to be famous” and, for me, the implication was that once one truly understands the science and the full situation of our current ecological collapse all other concerns should somehow fall away and one should dedicate oneself only to deep political change. But strangely it doesn’t quite work that way.



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March 7, 2021

Excerpt from chapter seven of the work-in-progress Amateur Kittens Dreaming Solar Energy

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There are at least six groups. It will be impossible to go further if we don’t give each group a name. But please keep in mind these names are only suggestions. In the future you might decide that other names are more suitable. Or each group may decide upon its own name (as each of them have of course already done.) But for now we will treat those self-appointed names as the secret names, and therefore use other names so as to not unnecessarily reveal any secrets.


(One.) I was thinking of calling the first group The Scientists, but the more I consider the matter the more this name feels wrong. They meet each and every evening on the ground floor of the small blue house. But before that, as we well know, they met on the third floor of a now demolished house that appeared, from street level, to only have two floors. But why should they be called scientists just because, upon first impression, a few of them reminded Silvering of famous scientists. Do they still remind her of such figures or has the situation already changed. Either way, they are fictional characters, they can transform and grow over time. Silvering named Petra and Veronika, she named Carl and Maria, but these names were only based on her first impression. We now need to go beyond those first impressions, on toward something deeper.


(Two.) The next group is the people who live and work at The Vicinity. We need to use less. There is no way around it. Not just on an individual level but more importantly on a corporate and societal level. We need to use less. One way to view The Vicinity is as an experiment in using less. There are many ways to view The Vicinity. Since I haven’t written all that much of it yet, it can, to a certain extent, still be whatever we want. (And yet, with so many storylines, who really knows how much more of it we will actually get.) (I just wrote “on a corporate level” but it goes without saying that, for the future, it is my sincere hope there will be no such thing as a “corporate level.”) What does this using less actually look like in our imagination? How far can we see ourselves going with it? Because when you no longer have to do it alone, when everyone around you is doing so as well, so many things might open up. When you can actually feel, on a daily basis, that we’re all in this together because on a daily basis we’re all in it together. At The Vicinity they are using less not only in response to larger environmental questions, not only to work toward a model that others might someday wish to follow, but also in order to make the most of their rather limited resources. The Vicinity is an ideal. It is not based on any specific thing that exists in reality. In fiction you can work through ideals. It is one of the things you can do. But perhaps when you do so the edges of what is possible begin to slip, other things might begin to happen, such as kittens communicating with their minds, or flying talking ears influencing the canonical history of modern art. In search of stories that might help teach us how and why to live, we might also stumble over stories that teach us no such thing.


(Three.) We don’t yet know much about the refugee camp where Rana grew up. And we know even less about the uprising that features so prominently in Chapter Five of Helpless Laughter. But a network of such encampments, a network still – at this point in our story – in its infancy, forms what I have chosen to describe as our next group, if such a network can even be said to also be a group. If an uprising was possible at one encampment, why couldn’t it be possible at others, and might not it also be possible for these liberated territories to support one another, to come into dialog, to be nodes as part of some larger whole? Rana was haunted by such questions. almost continuously. And she knew there was no way for her to think so much on such questions without eventually taking action. It was simply a question of making the first step. Of figuring out what the first step was and then taking it.


(Four.) Nobody knew exactly how many vials there were or who they were all given to. But it was estimated that the action caused almost a trillion dollars worth of damage to the oil and gas industry. Petra clicks on the link and right away she knows: Veronika has something to do with all of this. This was the endeavor to which she disappeared. Now the project was seemingly complete – and what an astonishing kerfuffle it had created across the entire surface of the capitalist earth – so perhaps she’d soon return. We don’t really know anything about who organized the vials, or how they did so, so what should we call it?


(Five.) Setting fire to oil wells was such a short-lived endeavor. But for different people, at different times, often as little more than a rumor, it was legendary. Because of the highly illegal nature of the undertaking, all of those involved remained relatively unknown, even to insiders. They also mostly chose not to be in contact with each other, hoping that the less interconnected they were in current reality the harder it would be for any hypothetical future investigation to put the various pieces together. So when Veronika spotted Windsor across the crowded bar, little more than an hour into her very first blind date with Petra (the newfound love of her life), even though Veronika and Windsor had risked their life together many times over, it is only slightly perplexing that she didn’t immediately recognize him. He looked so familiar but from where? She was of course distracted by love but, also, Windsor had changed so much in the intervening years. He barely looked like the same person at all. Veronika wonders if she would have had the courage to become one of The Vials if she hadn’t first, so long ago, barely survived her much too youthful experience as an Amateur Kitten. If you escape death once does that give you the courage to try again? Both times she was so certain she’d end up in jail and both times (at least so far) she’d escaped. She had a strong desire never to romanticize anything, but nonetheless she sometimes found herself wondering if she did ever end up in jail, how many of her fellow inmates she might be able to convert to the cause over time. Historically, there were many instances of radical politics being spread in this manner, but she knew the chasm between historical achievements and current praxis was often considerable. Of the many things that must be fought for immediately, a world without police and without prisons was certainly at the top of the list. At the same time it was all connected. All the injustices were so deeply interconnected. How to fight for every kind of present and future justice all at the same time? She could do far more organizing here on the outside than she could if she were incarcerated. Therefore the goal, as always, was to remain – or to become – free. A continuous process. At least as free as possible in this systemically unjust world. In the meantime she would find her way back to Petra.


(Six.) The sixth and final group we have not yet encountered.


(One.) As we know, The Scientists meet each and every evening on the ground floor of the small blue house. Or at least they used to. That was the time in which the group they formed was at its most cohesive. What does it mean for such a cohesive group to scatter yet still remain engaged in something resembling a collective endeavor?


(Two.) There was no reason it should be today rather than some other day. She had thought about it every single day for months on end. But sometimes one is simply seized by a feeling analogous to now or never. The question of how much to pack. She would miss all the books she had learned from during her time at The Vicinity but knew she couldn’t take any of them with her. She had been gifted some clothing during her time here but actually not so much, it would all easily fit in a small bag. She would bike to the train station, take the bike with her on the train (which she had never done before.) She examined the maps to figure out what station was closest and how far she’d have to bike on the other end. But if she could do it running she could definitely retrace her steps by bike. She tried to remember where the best spot was to crawl under the fence.

As she walked through the brightly lit atrium, unaware of the look of careful determination plastered across her face for all to see, Xia and Yei stop to say hello, sense that something might be wrong, or if not wrong than at least out of The Vicinity ordinary, and ask where she’s headed. At first she’s not sure she could explain, but she’s never really liked being secretive, and as she tries to outline her plan Xia and Yei listen with a mixture of fascination and concern. Without even knowing beforehand that she’s going to do so, Xia asks if they can join her. If they can come along. If there’s some way for them to tag along and make themselves of use. Rana can’t think of any reason to say no and, less than an hour later, all three of them are biking toward the train station. Yei has packed the trailer behind his bike with boxes and boxes of food and, as they ride in unison, Rana wonders how they will load all the food onto the train and whether or not the individual boxes are too large to pass underneath the fence. It will be ironic if they have to remove a panel of fencing in order to get it all through, as if she were returning in exactly the same way she left. However, when they get to the train station Xia and Yei both lock their bikes next to a car and start loading the boxes into the truck. Rana had never known anyone at The Vicinity to be in possession of a car, and her expression must have said as much, because Yei quickly explained that it was all right, the car ran completely on vegetable oil, and was probably the most ecological way for a group of three or four people to travel long distances, though this point was of course arguable. As Rana climbed into the back seat it suddenly occurred to her that she’d never been in a car before. What a strange thing that was. Her very first time in a car and it appeared to be taking her back home.


(Three.) When they arrived the encampment it was almost dawn the next day. They had driven straight through the night. Rana had told them absolutely everything she could think of about life in the place where she grew up. But how much might it have changed in the intervening years? She honestly had no idea. Strangely Xia and Yei had they very own copy of Helpless Laughter and had already thought to bring it along. Somehow they’d heard about Rana’s strange connection to the book. Rana was about to show them the best spot to crawl under the fence when Xia suggests that perhaps, instead, they could simply enter through the front gate. Rana watches in amusement as Xia and Yei explained to the guard that they worked for an NGO and had brought a month’s worth of donated food. As they loaded the boxes through the front gate, Rana looked around, trying to intuit what had already changed and what had stayed the same.


(Four.) How did The Vials manage to recruit so many people, so many different kinds of people, while at the same time remaining undetected? This is a question the proper authorities never managed to solve. It is the kind of thing that is actually impossible in reality. The kind of thing that can only happen in a novel.


(Five.) Things that happened a long time ago take on a life of their own through the stories that are told about them. And there were certainly no shortage of stories and anecdotes about the Amateur Kittens. An undertaking lasts for less than a year but produces enough stories to make it seem like it might have been a considerably longer endeavor. And the timeline is endless fuzzy. One of the main reasons anyone knows about it at all is because of the book Helpless Laughter.


(Six.) Why have I written a world in which the only sex they know is cuddling?


(One.) Each of The Scientists has infiltrated a different organization. As we already know, Inge found her way into a computers research laboratory. So what about the rest? So many characters we still know almost nothing about. The same way we know almost nothing about relative strangers who pass us on the street. The same way we know almost nothing about the future, though the prognostications certainly don’t look good. The Faux Blackmailer is sitting in his car a few blocks from Maria’s apartment, pondering his next move. Taping the letters to her front door had been fun, but perhaps he should have thought the entire thing through a bit more. The point was to make her life difficult and he honestly had to ask himself if he was making it difficult enough.


(Two.) It was several weeks before anyone at The Vicinity began to suspect that Rana had left for good. People were always coming and going, when they were there they filled in their names into suitable slots on the rather extensive chore list, and when they were away someone else put different names into similar slots. Somehow, in this manner, everything seemed to get done. Ex-Banker found themselves scanning back through the list, week before week, trying to figure out exactly how long it had been since Rana had written in her name. They weren’t certain there was any reason to be concerned, but neither were they certain there wasn’t. They were particularly good with tasks such as this – with numbers, charts and schedules – and therefore it didn’t take long to ascertain that Rana had now been gone for just over a month.



[Unfinished.]



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February 24, 2021

The VMI Betsy Warland Between Genres Award

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The VMI Betsy Warland Between Genres Award


"For a book published in Canada in 2021 that is a hybrid genre, or straddles two or more genres." 


"Creative nonfiction writer, poet, essayist, teacher, manuscript consultant, and editor Betsy Warland’s 14 books are not easily classified or categorized in one genre, yet they have contributed greatly to Canadian literary history and continue to influence emerging authors. Many beloved books do not find a comfortable place on a bookshelf or on a prize list because they are innovative in terms of form, creating/inviting/forcing new ways of being read. Considered uncategorizable, they are overlooked or misread. Named in honour of Betsy Warland, this award celebrates work that disrupts convention about what a book should be, how it should read, what it should sound like, what subject matter is acceptable."



Find out more about it here.



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