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Next Wednesday, 5pm, join us for a popular gathering at métro Mont Royal, at the square, a live speak out and recording for broadcast on Radio alHara of poets, political activists and musicians speaking out and playing for Palestine! Thank you to Léon Lo for working on this poster design!
At this gathering we will hear poetry from Alejandro Saravia, community activist Summer Alkhdour, educator Sarwat Viquar, poet Jacob Wren, an anarchist marching band project Fanfare d'occasion featuring many awesome folks, plus many more, I hope to see you there!
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July 12, 2025
Excerpt from the novel-in-progress Desire Without Expectation
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He starts right in, without preamble: “As we already know, money is not a simple unit of exchange. Money is a weapon, most often wielded by the nation state.”
I thought it was a strong opening: punchy, intriguing. I was immediately curious where he would take it next. At the same time, I couldn’t get over the fact that just a few minutes ago I was relatively certain he was dead. That this was a gathering in his memory.
“The nation state is necessary to create a stable base upon which capitalism can operate. But capitalism seems not to fully know this, and continuously drives toward actions that destabilize this necessary base. It is the nature of capitalism to destabilize itself, to generate cycles of destabilization, and it is often only forces of opposition – socialism, regulation, trade unions, protest, counter-culture – that manage to temporarily restabilize it, allowing the next cycle to continue. Nonetheless, we must work and build on the premise that capitalism will not be able to prolong this bad relationship with human and non-human existence forever, that eventually something is going to give.”
There was a sense of gentle agreement in the room. A quality of agreement I couldn’t recall having experienced in other settings. But there was also another feeling, something more unnerving, that I wasn’t able to fully identify until much later.
“If capitalism does eventually collapse under the weight of its own contradictions, it is our job to provide a model for what could replace it, a model that must be open enough to grow and change with our ever-shifting world. And I would like to propose that we give this model the name of economics, a different kind of economics, an economics dedicated to making life livable for all beings, in which I believe we should include, at the very least, the air, soil, spirit and waters. Claiming that economics only concerns finance, interest rates, markets and self-interest is like saying that eating only consists of raw ingredients (which economics refers to as commodities) and leaving out farming, cooking, socializing over food, or the prayer of gratitude that begins the meal. Everything that makes the ingredients worthwhile is set off to one side. The economics I’m proposing would turn the official discourse inside out. It would be an economic system that would make it impossible for anyone to get rich.”
I was skeptical, but felt a desire to be less skeptical, since I found his tone and general approach quite likable. And it occurred to me that he wasn’t speaking of reality but rather about a model. A model might be like an ideal or it might be like a blueprint.
“Economics is culture. Culture is the habits, institutions, stories and rituals that underlie and create our daily actions. Economics can be renewed – if we have the tenacity and panache to do so – to create a culture in our image, a culture that makes life worth living, a culture full of value, depth and reciprocity. Those of us who study and practice radical economics already have the tools and permission to push for those necessary changes. And know that anything less only perpetuates the current status quo: an economics that does little more than oil the gears of our societies ever-accelerating death drive. Now, if you’ll excuse me, I realize I am feeling quite tired. I will take a short rest before we continue on with our next session.”
Alfreda is still standing beside me. I look over, her expression difficult to read. What was she thinking about her professor’ s presentation, which seemed to end just as it was getting started.
Alfreda says: “He seems so much older since the last time I heard him speak. We used to joke that he was our young professor, even though he was so much older than us, but he felt young. He treated us a equals and that made us feel he was closer to us in age. But I also feel a lot older than I did back then. In fact, listening to him, hearing him again after such a long time, was like realizing how different everything feels today. You can just be living your life and the whole world changes around you and you barely even notice it happening. That was all before I started working for the enemy, which I’m also now realizing how deeply it changed me, how deeply that decision changed me, so it wasn’t just the world changing around me, at the same time I was also changing.”
As Alfreda’s talking, her professor continues to push his way through the audience, stopping to chat with a few acolytes on the way but also focused on getting out of the room as quickly as possible. As he passes I momentarily think Alfreda is going to stop him to say something, but then she decides to let him go.
I say: “When you first told me about him I somehow imagined him differently.”
Alfreda says: “How did you imagine him?”
I say: “I don’t know. Like a historical figure. Like a colorful story from your past. When I see him now he seems almost too real. Just a person. A person who’s struggling. Who’s maybe no longer doing so well.”
By the time I finish my thought her professor has already made it out the door. The room seems a little bit more empty without him. Yet, I don’t quite know how to explain it, but it also feels like a relief that he is gone. That there’s no longer a focus for all of our attention.
Mailman comes overt to join us and says: “It’s beautiful so many people have gathered to pay their last respects.” For a long moment I don’t quite understand. Then I somehow do, he’s saying the professor is once again dead and we are here to gather in his memory. Since we all just, moments ago, saw him on stage in front of us, speaking, this makes absolutely no sense. But what I have to admit is most strange is that, in another way, it makes almost perfect sense. I’m not quite sure how to explain it.
I say: “I have the feeling so many people here were changed by their experiences at his school.”
Mailman says: “Why else would they be here?”
Alfreda says: “But you have to understand, that only partly had to do with him. What was so amazing about it was how much we were learning from each other. In some ways he was only a pretext for us to gather. When he was fired from the university it suddenly gave us a cause to gather around, a cause that was immediate, so close to our immediate experience. Something we could do right away. And then we were the ones who organized it all. There were ideas we were learning and proposing, but then there was the proactive learning of figuring out how to organize it all as we went. When we were fighting with each other and had to consciously decide to stop fighting long enough to get things done. Because there was always so much to do. Our professor was there for maybe one hour each weekday to give his lecture and then the rest of the time we were on our own. It was our school even though we would say it was his. Now that I think about it, it even makes me a little mad. How we did the work and he took the credit.”
Mailman says: “I think if you would have asked him at the time he would have said the credit belongs to everyone.”
Alfreda says: “You weren’t there, how would you know?”
Mailman says: “I’ve read about it.”
I say: “You’re comparing Alfreda’s first-hand experience to your reading about it?”
Mailman says: “It’s perhaps not the same level of knowledge. But it’s still knowledge.”
Alfreda says: “How do you two know each other again?”
I say: “We wandered together. That was a long time ago.”
Mailman says: “I pretended not to know him when he tried to join our spiritual retreat. I was doing the work of a charlatan.”
Alfreda says: “I have also, up until recently, been working for a charlatan.”
I say: “There’s so many of them around. And they have all the money. It’s hard to avoid working for them.”
Mailman says: “Have you ever worked for anyone?”
I say: “That’s a story for another time.”
*
An announcement is made. We’re going to take a forty-five-minute break before the next presentation. There seems to be some difficulties occurring behind the scenes but here in the audience no one seems especially bothered as we all quietly files out of the room. The three of us end up in the backyard, a well manicured lawn that stretched out in every direction. There are a few empty chairs in a circle of people talking, so as we sit down we join a conversation already under way. It takes me a while to figure out the topic, but eventually I realize they’re debating whether the professor had died of “natural causes” or whether he’s been assassinated, and if so by who. There were many different kinds of capitalists who might have liked to see him dead. And then it hit me all over again only this time much harder. Just moments ago we were all listening to him speak, listening to his coherent arguments pertinent to the field of radical economics, and now we were spending our break considering who might have killed him. No one knew who, but at least two in our circle were clear that if he had been killed the method had to have been poisoning.
“People always say his speeches weren’t popular enough to be a real threat to anyone. Certainly not enough of a threat for anyone to kill him. But that doesn’t take into account how potent he could be. Even if only a few dozen people heard him each year, he often changed those people’s lives. They went back to their economics classrooms and taught different, taught different material, his vision of economics was spreading.”
“He was a very old man. I don’t think there’s any surprise in the fact that he died, or any need to resort to conspiracy theories to explain the causes. Wanting to believe someone killed him certainly gives him a greater importance, and he’s an extremely important thinker for all of us, so I can understand why we’d want to further increase his importance. But his thinking remains just as essential if he died quietly in his sleep of old age.”
It occurs to me to ask the group if we’re sure the professor is dead, how we know he’s dead, what proof do we have. But everyone seems so certain. I feel they’d think me insane if I were to begin to question the basic facts of the situation. I try to think of something else I can contribute, then I notice Alfreda and Mailman also aren’t saying anything. Maybe, for now, it’s more interesting to listen. Lately I’ve been worried that I’ve been talking too much anyway, taking up too much space.
“The fact that they haven’t released the autopsy is the main reason we all continue to speculate. There’s this feeling that surrounds his death, a feeling that something is being suppressed. But maybe in the next few weeks they will release the autopsy and then at least some of this speculation might stop. I came here because I wanted to be around other people who were thinking deeply about radical economics, not to speculate whether or not there was a third poisoner on the grassy knoll.”
“I also wonder what it matters. If someone poisoned him, what can we do about it anyway. All we can do is continue to disseminate his ideas. Continue to develop them. Continue to figure out how to make those concepts most rhetorically effective. How to make them attractive for out students and colleagues. Because economics departments could be a place that triggers change. It seems farfetched. And I haven’t yet seen it happen. But the fact that we’re all here makes me believe that there’s people who want it. The question is how many of us are there and how tenacious can we be.”
It occurs to me that maybe I don’t have anything to say because I’m not a radical economist. In fact, I’m of not an economist of any kind. And yet I’ve ended up here. I’ve ended up here because I’m searching for something. Might the lost masterpiece be a work of radical economics? Of course it might be, it could be anything, that’s the magic of it. I’m here because a series of random events led one into the next, some of which weren’t so random. And I’m here because wandering was the decisive event of my recent past, and the school of radical economics was the decisive event of Alfreda’s recent past, and in that sense it reflects something we have in common.
“I guess if we discover he was murdered, if we find the smoking gun so to speak, no of us holds any real hope that we’ll manage to hold the person responsible accountable. Because we also all basically think we know who did it. And that person is too powerful. That person is not someone any of us would be able to reign in. No matter how many of us there were working on it.”
I look over at Afreda. From the way she looks back at me I realize we both know who they’re referring to. But it’s all just speculation, and in a way too suspicious to be true. You give a free building so someone can run a free school, and it sets off a chain of events. Now you and the person you’ve helped are intertwined, are connected, are part of the same story and that story can grow, be embellished, in the minds of everyone who knows even the basic facts. And maybe now I do want to consider the possibility that the professor might still be alive. But consider it only for myself, not try to convince anyone else.
*
They announce the next presentation will begin in ten minutes and we all file back into the main room. Once again there’s an introduction and once again they introduce the professor. I watch as he slowly makes his way onto the stage. For the first time since we arrived it occurs to me that perhaps I do have a concussion. That wouldn’t really explain anything, but it’s nonetheless a theory I shouldn’t so easily dismiss. Once again he starts right in, without preamble: “There is no reason economics has to be a field that serves the interests of capitalism. Nonetheless, businesspeople want economics to be a field that serves their interests and are willing to work overtime to make it so. How hard are we willing to work to ensure they don’t get their way? The university is an institution that can be much-too-easily bought, we all know this, though we would prefer not to. But can the university become an institution that resists being bought. Because economics departments do, undeniably, affect public policy, affect how governments are run, affect how businesses are run. You are the next generation and you can’t let anyone, not my generation and not anyone else, tell you that it’s not possible. No one is going to give you power, you have to take it.”
As I listen, I think about how just moments ago we were speculating about who might have murdered him and now we were, once again, listening to him hold forth. When we went on break I assumed the next presentation would be by someone else, but it now seems like every presentation is going to be by him. I don’t know quite how to put it, but I find it extremely difficult to imagine the people in this room taking power of any kind. But I just met them, maybe they have some secret reserve of tenacity that’s not apparent at first glance. And another thought follows this first wave of reservations, that if some of them were to fully follow their professor’s noble example maybe they would be killed as well. Though rarely does a corpse give a presentation as energetic at the one we are all listening to now.
“A university has a responsibility to the truth. A businessman does not. If money is being made, the “truth” can be made to conform to the requirements of that money. But this is not a way of life that can sustain itself, eventually it’s going to crash. Or, to put it another way, this is a system that has crashed over and over again, and each time managed to rebound, often through the efforts of those who wanted something different but failed at creating something completely different and therefore only managed to achieve temporary reforms. But you can’t crash over and over again and survive. Sooner or later you have suffered one crash too many. You don’t come back. To some what seems most likely is a return to feudalism. And that might be where we are headed if we don’t find a way to activate something else, some otherwise, a new kind of economics that believes the future doesn’t just repeat the past.”
As I listened, I started to think again about our collective dream journal. What was happening now could have easily been one of those dreams. This professor could have easily been one of our shared characters. Yet I knew I wasn’t dreaming. And then there is the other meaning of the word “dream,” that this professor is espousing a dream for the future he wants us to believe is achievable. He is saying this is not a dream but a plan. Could we really sit down and map out how to take over the economics departments of the universities one by one? How to go about it in concrete and effective detail? What strategies and tactics would most likely lead to success? That would be a kind of planning I’ve never really seen at the kinds of conferences and meetings I’ve previously attended and that this particular gathering echo’s in some ways but not others.
“Now is the time for us to invest in our own tenacity and conviction to an unprecedented degree. The scare of the problems and obstacles we face may seem insurmountable, by they are problems that also have clear and often quite simple solutions. What we require is the accumulated power to implement those solutions. Money is power, but the field of economics has the possibility to undermined some of that power, to expose some of the ways money isn’t real and close some of the loopholes that allow pyramid schemes and the corruption of pure gambling to masquerade as business as usual. Use your doubt to fuel your conviction.”
I look over at Alfreda and realize she is almost in tears. She turns, pushes through the crowd and out the back door as I do my best to follow. I find her in the backyard crying as hard as I’ve ever seen anyone cry. I sit down quietly beside her, waiting for things to calm down, trying to exude peaceful calm in the hope it might be contagious. Slowly her crying begins to settle.
I say: “Are you sad because your professor is dead?”
Alfreda says: “He’s not dead. We were just watching him speak.”
This confuses me further but I decide to stay on topic.
I say: “Then why are you upset?”
Alfreda says: “I heard the line ‘use your doubt to fuel your conviction’ and it hit me in such a specific way. Everything took on a greater clarity. Since we arrived here I’ve been thinking so much about my time running the school. I’ve been thinking back so much, too much. I’ve been thinking about Driver, about how our time together was the only time in my life I was completely in love. And we’re still in love, somehow I now realize that almost nothing has changed. And I can’t believe we let that bastard separate us. I can’t believe we agreed that she would move away for something as stupid as a paycheck. About a month ago she sent me a text to ask if I was planning to come to this gathering and I wrote back that I wasn’t planning to come. Then, as you know, I changed my mind at the last minute, which is why we’re here, but I didn’t write to tell her, which is probably why she isn’t here. But I now realize that I was hoping to see her here, that I was almost expecting it. And I also now realize what I need to do. I need to use my doubt to fuel my conviction. I need to go find her. We need to be together. I realize now that’s the only important thing. Everything else I’m doing is so much less important. I’m going to get my things and leave right away.”
I say: “You’re going to leave right now?”
Alfreda says: “Yes.”
I watch her stand up, head upstairs to get her bag. I stand limply by the front door waiting, trying to think what is the best way for us to say goodbye. It crosses my mind I might never see her again. She comes back down and we hug for a long time. Then she says goodbye, walks out the door. I hear her get into her car, hear the car start up and drive away. A few weeks ago I barely knew Alfreda at all and now our story already has a beginning, middle and end. I stand by the front door wondering what I should do. In a way this is mainly a gathering for Alfreda’s professor, so now there’s no longer much reason for me to be here. For a long moment I consider going back in to hear the rest of the presentations but realize I don’t much feel like it. I instead decide to go for a walk to clear my head. So many things have happened in a relatively short period of time.
*
[I am gradually realizing that in my current still-in-progress trilogy - Dry Your Tears to Perfect Your Aim, Amateur Kittens Dreaming Solar Energy, Desire Without Expectation - all three books are based loosely around questions concerning the desire for utopia.]
.
He starts right in, without preamble: “As we already know, money is not a simple unit of exchange. Money is a weapon, most often wielded by the nation state.”
I thought it was a strong opening: punchy, intriguing. I was immediately curious where he would take it next. At the same time, I couldn’t get over the fact that just a few minutes ago I was relatively certain he was dead. That this was a gathering in his memory.
“The nation state is necessary to create a stable base upon which capitalism can operate. But capitalism seems not to fully know this, and continuously drives toward actions that destabilize this necessary base. It is the nature of capitalism to destabilize itself, to generate cycles of destabilization, and it is often only forces of opposition – socialism, regulation, trade unions, protest, counter-culture – that manage to temporarily restabilize it, allowing the next cycle to continue. Nonetheless, we must work and build on the premise that capitalism will not be able to prolong this bad relationship with human and non-human existence forever, that eventually something is going to give.”
There was a sense of gentle agreement in the room. A quality of agreement I couldn’t recall having experienced in other settings. But there was also another feeling, something more unnerving, that I wasn’t able to fully identify until much later.
“If capitalism does eventually collapse under the weight of its own contradictions, it is our job to provide a model for what could replace it, a model that must be open enough to grow and change with our ever-shifting world. And I would like to propose that we give this model the name of economics, a different kind of economics, an economics dedicated to making life livable for all beings, in which I believe we should include, at the very least, the air, soil, spirit and waters. Claiming that economics only concerns finance, interest rates, markets and self-interest is like saying that eating only consists of raw ingredients (which economics refers to as commodities) and leaving out farming, cooking, socializing over food, or the prayer of gratitude that begins the meal. Everything that makes the ingredients worthwhile is set off to one side. The economics I’m proposing would turn the official discourse inside out. It would be an economic system that would make it impossible for anyone to get rich.”
I was skeptical, but felt a desire to be less skeptical, since I found his tone and general approach quite likable. And it occurred to me that he wasn’t speaking of reality but rather about a model. A model might be like an ideal or it might be like a blueprint.
“Economics is culture. Culture is the habits, institutions, stories and rituals that underlie and create our daily actions. Economics can be renewed – if we have the tenacity and panache to do so – to create a culture in our image, a culture that makes life worth living, a culture full of value, depth and reciprocity. Those of us who study and practice radical economics already have the tools and permission to push for those necessary changes. And know that anything less only perpetuates the current status quo: an economics that does little more than oil the gears of our societies ever-accelerating death drive. Now, if you’ll excuse me, I realize I am feeling quite tired. I will take a short rest before we continue on with our next session.”
Alfreda is still standing beside me. I look over, her expression difficult to read. What was she thinking about her professor’ s presentation, which seemed to end just as it was getting started.
Alfreda says: “He seems so much older since the last time I heard him speak. We used to joke that he was our young professor, even though he was so much older than us, but he felt young. He treated us a equals and that made us feel he was closer to us in age. But I also feel a lot older than I did back then. In fact, listening to him, hearing him again after such a long time, was like realizing how different everything feels today. You can just be living your life and the whole world changes around you and you barely even notice it happening. That was all before I started working for the enemy, which I’m also now realizing how deeply it changed me, how deeply that decision changed me, so it wasn’t just the world changing around me, at the same time I was also changing.”
As Alfreda’s talking, her professor continues to push his way through the audience, stopping to chat with a few acolytes on the way but also focused on getting out of the room as quickly as possible. As he passes I momentarily think Alfreda is going to stop him to say something, but then she decides to let him go.
I say: “When you first told me about him I somehow imagined him differently.”
Alfreda says: “How did you imagine him?”
I say: “I don’t know. Like a historical figure. Like a colorful story from your past. When I see him now he seems almost too real. Just a person. A person who’s struggling. Who’s maybe no longer doing so well.”
By the time I finish my thought her professor has already made it out the door. The room seems a little bit more empty without him. Yet, I don’t quite know how to explain it, but it also feels like a relief that he is gone. That there’s no longer a focus for all of our attention.
Mailman comes overt to join us and says: “It’s beautiful so many people have gathered to pay their last respects.” For a long moment I don’t quite understand. Then I somehow do, he’s saying the professor is once again dead and we are here to gather in his memory. Since we all just, moments ago, saw him on stage in front of us, speaking, this makes absolutely no sense. But what I have to admit is most strange is that, in another way, it makes almost perfect sense. I’m not quite sure how to explain it.
I say: “I have the feeling so many people here were changed by their experiences at his school.”
Mailman says: “Why else would they be here?”
Alfreda says: “But you have to understand, that only partly had to do with him. What was so amazing about it was how much we were learning from each other. In some ways he was only a pretext for us to gather. When he was fired from the university it suddenly gave us a cause to gather around, a cause that was immediate, so close to our immediate experience. Something we could do right away. And then we were the ones who organized it all. There were ideas we were learning and proposing, but then there was the proactive learning of figuring out how to organize it all as we went. When we were fighting with each other and had to consciously decide to stop fighting long enough to get things done. Because there was always so much to do. Our professor was there for maybe one hour each weekday to give his lecture and then the rest of the time we were on our own. It was our school even though we would say it was his. Now that I think about it, it even makes me a little mad. How we did the work and he took the credit.”
Mailman says: “I think if you would have asked him at the time he would have said the credit belongs to everyone.”
Alfreda says: “You weren’t there, how would you know?”
Mailman says: “I’ve read about it.”
I say: “You’re comparing Alfreda’s first-hand experience to your reading about it?”
Mailman says: “It’s perhaps not the same level of knowledge. But it’s still knowledge.”
Alfreda says: “How do you two know each other again?”
I say: “We wandered together. That was a long time ago.”
Mailman says: “I pretended not to know him when he tried to join our spiritual retreat. I was doing the work of a charlatan.”
Alfreda says: “I have also, up until recently, been working for a charlatan.”
I say: “There’s so many of them around. And they have all the money. It’s hard to avoid working for them.”
Mailman says: “Have you ever worked for anyone?”
I say: “That’s a story for another time.”
*
An announcement is made. We’re going to take a forty-five-minute break before the next presentation. There seems to be some difficulties occurring behind the scenes but here in the audience no one seems especially bothered as we all quietly files out of the room. The three of us end up in the backyard, a well manicured lawn that stretched out in every direction. There are a few empty chairs in a circle of people talking, so as we sit down we join a conversation already under way. It takes me a while to figure out the topic, but eventually I realize they’re debating whether the professor had died of “natural causes” or whether he’s been assassinated, and if so by who. There were many different kinds of capitalists who might have liked to see him dead. And then it hit me all over again only this time much harder. Just moments ago we were all listening to him speak, listening to his coherent arguments pertinent to the field of radical economics, and now we were spending our break considering who might have killed him. No one knew who, but at least two in our circle were clear that if he had been killed the method had to have been poisoning.
“People always say his speeches weren’t popular enough to be a real threat to anyone. Certainly not enough of a threat for anyone to kill him. But that doesn’t take into account how potent he could be. Even if only a few dozen people heard him each year, he often changed those people’s lives. They went back to their economics classrooms and taught different, taught different material, his vision of economics was spreading.”
“He was a very old man. I don’t think there’s any surprise in the fact that he died, or any need to resort to conspiracy theories to explain the causes. Wanting to believe someone killed him certainly gives him a greater importance, and he’s an extremely important thinker for all of us, so I can understand why we’d want to further increase his importance. But his thinking remains just as essential if he died quietly in his sleep of old age.”
It occurs to me to ask the group if we’re sure the professor is dead, how we know he’s dead, what proof do we have. But everyone seems so certain. I feel they’d think me insane if I were to begin to question the basic facts of the situation. I try to think of something else I can contribute, then I notice Alfreda and Mailman also aren’t saying anything. Maybe, for now, it’s more interesting to listen. Lately I’ve been worried that I’ve been talking too much anyway, taking up too much space.
“The fact that they haven’t released the autopsy is the main reason we all continue to speculate. There’s this feeling that surrounds his death, a feeling that something is being suppressed. But maybe in the next few weeks they will release the autopsy and then at least some of this speculation might stop. I came here because I wanted to be around other people who were thinking deeply about radical economics, not to speculate whether or not there was a third poisoner on the grassy knoll.”
“I also wonder what it matters. If someone poisoned him, what can we do about it anyway. All we can do is continue to disseminate his ideas. Continue to develop them. Continue to figure out how to make those concepts most rhetorically effective. How to make them attractive for out students and colleagues. Because economics departments could be a place that triggers change. It seems farfetched. And I haven’t yet seen it happen. But the fact that we’re all here makes me believe that there’s people who want it. The question is how many of us are there and how tenacious can we be.”
It occurs to me that maybe I don’t have anything to say because I’m not a radical economist. In fact, I’m of not an economist of any kind. And yet I’ve ended up here. I’ve ended up here because I’m searching for something. Might the lost masterpiece be a work of radical economics? Of course it might be, it could be anything, that’s the magic of it. I’m here because a series of random events led one into the next, some of which weren’t so random. And I’m here because wandering was the decisive event of my recent past, and the school of radical economics was the decisive event of Alfreda’s recent past, and in that sense it reflects something we have in common.
“I guess if we discover he was murdered, if we find the smoking gun so to speak, no of us holds any real hope that we’ll manage to hold the person responsible accountable. Because we also all basically think we know who did it. And that person is too powerful. That person is not someone any of us would be able to reign in. No matter how many of us there were working on it.”
I look over at Afreda. From the way she looks back at me I realize we both know who they’re referring to. But it’s all just speculation, and in a way too suspicious to be true. You give a free building so someone can run a free school, and it sets off a chain of events. Now you and the person you’ve helped are intertwined, are connected, are part of the same story and that story can grow, be embellished, in the minds of everyone who knows even the basic facts. And maybe now I do want to consider the possibility that the professor might still be alive. But consider it only for myself, not try to convince anyone else.
*
They announce the next presentation will begin in ten minutes and we all file back into the main room. Once again there’s an introduction and once again they introduce the professor. I watch as he slowly makes his way onto the stage. For the first time since we arrived it occurs to me that perhaps I do have a concussion. That wouldn’t really explain anything, but it’s nonetheless a theory I shouldn’t so easily dismiss. Once again he starts right in, without preamble: “There is no reason economics has to be a field that serves the interests of capitalism. Nonetheless, businesspeople want economics to be a field that serves their interests and are willing to work overtime to make it so. How hard are we willing to work to ensure they don’t get their way? The university is an institution that can be much-too-easily bought, we all know this, though we would prefer not to. But can the university become an institution that resists being bought. Because economics departments do, undeniably, affect public policy, affect how governments are run, affect how businesses are run. You are the next generation and you can’t let anyone, not my generation and not anyone else, tell you that it’s not possible. No one is going to give you power, you have to take it.”
As I listen, I think about how just moments ago we were speculating about who might have murdered him and now we were, once again, listening to him hold forth. When we went on break I assumed the next presentation would be by someone else, but it now seems like every presentation is going to be by him. I don’t know quite how to put it, but I find it extremely difficult to imagine the people in this room taking power of any kind. But I just met them, maybe they have some secret reserve of tenacity that’s not apparent at first glance. And another thought follows this first wave of reservations, that if some of them were to fully follow their professor’s noble example maybe they would be killed as well. Though rarely does a corpse give a presentation as energetic at the one we are all listening to now.
“A university has a responsibility to the truth. A businessman does not. If money is being made, the “truth” can be made to conform to the requirements of that money. But this is not a way of life that can sustain itself, eventually it’s going to crash. Or, to put it another way, this is a system that has crashed over and over again, and each time managed to rebound, often through the efforts of those who wanted something different but failed at creating something completely different and therefore only managed to achieve temporary reforms. But you can’t crash over and over again and survive. Sooner or later you have suffered one crash too many. You don’t come back. To some what seems most likely is a return to feudalism. And that might be where we are headed if we don’t find a way to activate something else, some otherwise, a new kind of economics that believes the future doesn’t just repeat the past.”
As I listened, I started to think again about our collective dream journal. What was happening now could have easily been one of those dreams. This professor could have easily been one of our shared characters. Yet I knew I wasn’t dreaming. And then there is the other meaning of the word “dream,” that this professor is espousing a dream for the future he wants us to believe is achievable. He is saying this is not a dream but a plan. Could we really sit down and map out how to take over the economics departments of the universities one by one? How to go about it in concrete and effective detail? What strategies and tactics would most likely lead to success? That would be a kind of planning I’ve never really seen at the kinds of conferences and meetings I’ve previously attended and that this particular gathering echo’s in some ways but not others.
“Now is the time for us to invest in our own tenacity and conviction to an unprecedented degree. The scare of the problems and obstacles we face may seem insurmountable, by they are problems that also have clear and often quite simple solutions. What we require is the accumulated power to implement those solutions. Money is power, but the field of economics has the possibility to undermined some of that power, to expose some of the ways money isn’t real and close some of the loopholes that allow pyramid schemes and the corruption of pure gambling to masquerade as business as usual. Use your doubt to fuel your conviction.”
I look over at Alfreda and realize she is almost in tears. She turns, pushes through the crowd and out the back door as I do my best to follow. I find her in the backyard crying as hard as I’ve ever seen anyone cry. I sit down quietly beside her, waiting for things to calm down, trying to exude peaceful calm in the hope it might be contagious. Slowly her crying begins to settle.
I say: “Are you sad because your professor is dead?”
Alfreda says: “He’s not dead. We were just watching him speak.”
This confuses me further but I decide to stay on topic.
I say: “Then why are you upset?”
Alfreda says: “I heard the line ‘use your doubt to fuel your conviction’ and it hit me in such a specific way. Everything took on a greater clarity. Since we arrived here I’ve been thinking so much about my time running the school. I’ve been thinking back so much, too much. I’ve been thinking about Driver, about how our time together was the only time in my life I was completely in love. And we’re still in love, somehow I now realize that almost nothing has changed. And I can’t believe we let that bastard separate us. I can’t believe we agreed that she would move away for something as stupid as a paycheck. About a month ago she sent me a text to ask if I was planning to come to this gathering and I wrote back that I wasn’t planning to come. Then, as you know, I changed my mind at the last minute, which is why we’re here, but I didn’t write to tell her, which is probably why she isn’t here. But I now realize that I was hoping to see her here, that I was almost expecting it. And I also now realize what I need to do. I need to use my doubt to fuel my conviction. I need to go find her. We need to be together. I realize now that’s the only important thing. Everything else I’m doing is so much less important. I’m going to get my things and leave right away.”
I say: “You’re going to leave right now?”
Alfreda says: “Yes.”
I watch her stand up, head upstairs to get her bag. I stand limply by the front door waiting, trying to think what is the best way for us to say goodbye. It crosses my mind I might never see her again. She comes back down and we hug for a long time. Then she says goodbye, walks out the door. I hear her get into her car, hear the car start up and drive away. A few weeks ago I barely knew Alfreda at all and now our story already has a beginning, middle and end. I stand by the front door wondering what I should do. In a way this is mainly a gathering for Alfreda’s professor, so now there’s no longer much reason for me to be here. For a long moment I consider going back in to hear the rest of the presentations but realize I don’t much feel like it. I instead decide to go for a walk to clear my head. So many things have happened in a relatively short period of time.
*
[I am gradually realizing that in my current still-in-progress trilogy - Dry Your Tears to Perfect Your Aim, Amateur Kittens Dreaming Solar Energy, Desire Without Expectation - all three books are based loosely around questions concerning the desire for utopia.]
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July 7, 2025
This Thursday (July 10)
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I will be reading in Montreal this Thursday (July 10) at the JRG Lit Open Mic (@noukuleles) with Chris Lloyd (@dearpm2001).
I will be reading something new from my current novel-in-progress Desire Without Expectation.
Chris will be reading from the (almost) daily letters he's been writing to the Canadian Prime Minister for the past twenty-five years. And having audience members roll the giant dice he’s made to pick what he reads.
at L'Hémisphère Gauche / 221 Rue Beaubien E
This is an event not to be missed.
Facebook event.
I will be reading in Montreal this Thursday (July 10) at the JRG Lit Open Mic (@noukuleles) with Chris Lloyd (@dearpm2001).
I will be reading something new from my current novel-in-progress Desire Without Expectation.
Chris will be reading from the (almost) daily letters he's been writing to the Canadian Prime Minister for the past twenty-five years. And having audience members roll the giant dice he’s made to pick what he reads.
at L'Hémisphère Gauche / 221 Rue Beaubien E
This is an event not to be missed.
Facebook event.
July 5, 2025
I haven't read this book...
.
I haven't read this book. The reason I'm posting it is I grew up at the tail end of the Cold War. And perhaps the Cold War thing I heard most often was that the great difference between the U.S. and the Soviet Union was that in the U.S. you were allowed to protest as much as you wanted but in the Soviet Union protesting got you sent to the gulag (as I believe is described in this book.) I know the Cold War ended a while ago, and differences between the two systems (now both "capitalist") are no longer held up as having any meaning. But with the current hype around "Alligator Alcatraz" - which I'm sure is just one of hundreds of such "prisons" the U.S. is about to build - I can't help but feel this is the final endpoint of the Cold War, the real race to the bottom, where instead of people in the former Soviet Union now having the right to protest, people in the U.S. who effectively protest will be sent to gulags in great number. The existence of the Soviet Union in some aspects kept domestic U.S. policy on its best behaviour. Now, with any threat of communism in the past, the U.S. will finally do at home what their foreign policy has imposed on so many other countries over the last hundred years.
*
"Our envy of others devours us most of all. Rub your eyes and purify your heart - and prize above all else in the world those who love you and who wish you well. Do not hurt them or scold them, and never part from any of them in anger; after all, you simply do not know: it may be your last act before your arrest, and that will be how you are imprinted on their memory.”
― Aleksandr Solzhenitsyn, The Gulag Archipelago 1918–1956
I haven't read this book. The reason I'm posting it is I grew up at the tail end of the Cold War. And perhaps the Cold War thing I heard most often was that the great difference between the U.S. and the Soviet Union was that in the U.S. you were allowed to protest as much as you wanted but in the Soviet Union protesting got you sent to the gulag (as I believe is described in this book.) I know the Cold War ended a while ago, and differences between the two systems (now both "capitalist") are no longer held up as having any meaning. But with the current hype around "Alligator Alcatraz" - which I'm sure is just one of hundreds of such "prisons" the U.S. is about to build - I can't help but feel this is the final endpoint of the Cold War, the real race to the bottom, where instead of people in the former Soviet Union now having the right to protest, people in the U.S. who effectively protest will be sent to gulags in great number. The existence of the Soviet Union in some aspects kept domestic U.S. policy on its best behaviour. Now, with any threat of communism in the past, the U.S. will finally do at home what their foreign policy has imposed on so many other countries over the last hundred years.
*
"Our envy of others devours us most of all. Rub your eyes and purify your heart - and prize above all else in the world those who love you and who wish you well. Do not hurt them or scold them, and never part from any of them in anger; after all, you simply do not know: it may be your last act before your arrest, and that will be how you are imprinted on their memory.”
― Aleksandr Solzhenitsyn, The Gulag Archipelago 1918–1956
July 4, 2025
fourteen years ago
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I've been thinking a lot about this bad poem I wrote fourteen years ago: Obsessing over the ramifications of the National Defense Authorization Act for Fiscal Year 2012. (A moment in history.) The first line was: “In the bright light of day, the United States becomes a lawful fascist state.” You can find it here.
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I've been thinking a lot about this bad poem I wrote fourteen years ago: Obsessing over the ramifications of the National Defense Authorization Act for Fiscal Year 2012. (A moment in history.) The first line was: “In the bright light of day, the United States becomes a lawful fascist state.” You can find it here.
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July 3, 2025
So I don't forget this day...
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"With this vote, Congress makes ICE the highest-funded federal law enforcement agency in history, with more money per year at its disposal over the next four years than the budgets of the FBI, DEA, ATF, US Marshals, and Bureau of Prisons combined."
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"With this vote, Congress makes ICE the highest-funded federal law enforcement agency in history, with more money per year at its disposal over the next four years than the budgets of the FBI, DEA, ATF, US Marshals, and Bureau of Prisons combined."
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July 2, 2025
“Because it is lucrative for many.”
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“Companies are no longer merely implicated in occupation – they may be embedded in an economy of genocide,” it said, in a reference to Israel’s ongoing assault on the Gaza Strip. In an expert opinion last year, Francesca Albanese said there were “reasonable grounds” to believe Israel was committing genocide in the besieged Palestinian enclave.
The UN report stated that its findings illustrate “why Israel’s genocide continues”.
“Because it is lucrative for many,” it said.
https://www.aljazeera.com/news/2025/7/1/un-report-lists-companies-complicit-in-israels-genocide-who-are-they
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“Companies are no longer merely implicated in occupation – they may be embedded in an economy of genocide,” it said, in a reference to Israel’s ongoing assault on the Gaza Strip. In an expert opinion last year, Francesca Albanese said there were “reasonable grounds” to believe Israel was committing genocide in the besieged Palestinian enclave.
The UN report stated that its findings illustrate “why Israel’s genocide continues”.
“Because it is lucrative for many,” it said.
https://www.aljazeera.com/news/2025/7/1/un-report-lists-companies-complicit-in-israels-genocide-who-are-they
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June 26, 2025
With an archive in the attic in dHOUSE Magazine
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I have a text in dHOUSE Magazine called With an archive in the attic. The table of contents moves around but, if you search, you can find it here.
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I have a text in dHOUSE Magazine called With an archive in the attic. The table of contents moves around but, if you search, you can find it here.
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June 25, 2025
"Other than capitalism, what qualifies conceptual art?”
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"A fantastical text concerning transformation, Jacob Wren’s novel Dry Your Tears to Perfect Your Aim follows a narrator to an unidentified liberated zone, where noncapitalist, collective practices are formed, reworked, and communalized. The zone is unidyllic as it continues to be bombed and fired upon by nearby and faraway imperialists. Amidst the daily raids, the narrator is allowed to sit in on town meetings, where economics and trade become reinvented. In one such meeting, the narrator hears a woman discussing how concerns over goods being “too expensive” must also be applied to items being “too cheap.” She says, “Just as you mustn’t accept a price that is too high, you also must not fight, nor constantly search, for a price that is too low … You need to understand that those who sell you these things also need to live.”
This gallows humor highlights the disparities between life and death and locates a price so low that some are explicitly not allowed to live. Tellingly, Cattelan, the supposed prankster who will sell and hire others to do everything and treats all matter as dispensable, predictably imposes a boundary on engagement with his own critique. In response to Mr. Alam’s critiques of his exploitation, Cattelan stated that “art, by its nature, does not solve problems—if it did, it would be politics.” Evading criticism through a well-worn notion of aesthetic isolationism, Cattelan offers art that ideologically affirms the status quo, upholding supply-chain repression and enforcing and extending class domination. (He offers, in other words, enmeshed and predictable capitalism-as-art.)
Regarding that which is purposefully degraded and denied in the supply chain: when Daniel Druet, the artist who made Untitled (Stephanie), sued Cattelan’s gallery over authorship and payment, contemporary artists such as Sophie Calle signed an open letter in support of Cattelan. It stated: “Daniel Druet’s quest for recognition as the exclusive author of the works imagined by Maurizio Cattelan opens the door to the disqualification of conceptual art.” Does the qualification of conceptual art hinge on the erasure of laborers and the repression of its making? The artists who signed the letter seem to think so. Other than capitalism, what qualifies conceptual art?”
- Eunsong Kim, No Aesthetic Autonomy Without Labor Autonomy
.
"A fantastical text concerning transformation, Jacob Wren’s novel Dry Your Tears to Perfect Your Aim follows a narrator to an unidentified liberated zone, where noncapitalist, collective practices are formed, reworked, and communalized. The zone is unidyllic as it continues to be bombed and fired upon by nearby and faraway imperialists. Amidst the daily raids, the narrator is allowed to sit in on town meetings, where economics and trade become reinvented. In one such meeting, the narrator hears a woman discussing how concerns over goods being “too expensive” must also be applied to items being “too cheap.” She says, “Just as you mustn’t accept a price that is too high, you also must not fight, nor constantly search, for a price that is too low … You need to understand that those who sell you these things also need to live.”
This gallows humor highlights the disparities between life and death and locates a price so low that some are explicitly not allowed to live. Tellingly, Cattelan, the supposed prankster who will sell and hire others to do everything and treats all matter as dispensable, predictably imposes a boundary on engagement with his own critique. In response to Mr. Alam’s critiques of his exploitation, Cattelan stated that “art, by its nature, does not solve problems—if it did, it would be politics.” Evading criticism through a well-worn notion of aesthetic isolationism, Cattelan offers art that ideologically affirms the status quo, upholding supply-chain repression and enforcing and extending class domination. (He offers, in other words, enmeshed and predictable capitalism-as-art.)
Regarding that which is purposefully degraded and denied in the supply chain: when Daniel Druet, the artist who made Untitled (Stephanie), sued Cattelan’s gallery over authorship and payment, contemporary artists such as Sophie Calle signed an open letter in support of Cattelan. It stated: “Daniel Druet’s quest for recognition as the exclusive author of the works imagined by Maurizio Cattelan opens the door to the disqualification of conceptual art.” Does the qualification of conceptual art hinge on the erasure of laborers and the repression of its making? The artists who signed the letter seem to think so. Other than capitalism, what qualifies conceptual art?”
- Eunsong Kim, No Aesthetic Autonomy Without Labor Autonomy
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June 22, 2025
"Because there is only room for one empire at a time."
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"I start to think about all the stated reasons for this war and other wars like it. For humanitarian reasons (every time an expensive humanitarian bomb landed on civilians, it was enough to turn even the most optimistic Pollyanna into a hardened cynic). To fight communists. To fight terrorists. To stop the spread of communism or terrorism or extremism or something else. To help people. To improve the lot of women. Because we’re right and they’re wrong. Because: Why do they hate us and why do they hate our way of life? Because war has always existed and will always exist. To increase the quantity of democracy in the world. Because we have a responsibility to the world and to freedom. For freedom. For strategic reasons. To stop a domino from setting off all the other dominoes.
And then I move on to what I think the reasons are for this war and so many others. Because our leaders need therapy. Because a bully needs a victim. Because so-called powerful men are deeply insecure. So politicians in favour of war can get elected or re-elected by voters in favour of war. To make money. To placate the arms industry and their high-priced lobbyists. To justify never-ending increases in the military budget. To distract from rampant domestic problems. To bring certain natural resources and labour into the jurisdiction of the global marketplace. To ensure these resources most benefit the capitalists doing the bombing and least benefit the people being bombed. Because it’s easier to kill people who look or sound different than you. Because hatred takes on a life of its own. To explain to the world that you do it our way or suffer the consequences. Because a protection racket needs to constantly ensure no one steps out of line or seeks protection elsewhere. So they can set up permanent military bases to keep the surrounding countries in line. Because there is no alternative. Because there is only room for one empire at a time."
- Jacob Wren, Dry Your Tears to Perfect Your Aim
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"I start to think about all the stated reasons for this war and other wars like it. For humanitarian reasons (every time an expensive humanitarian bomb landed on civilians, it was enough to turn even the most optimistic Pollyanna into a hardened cynic). To fight communists. To fight terrorists. To stop the spread of communism or terrorism or extremism or something else. To help people. To improve the lot of women. Because we’re right and they’re wrong. Because: Why do they hate us and why do they hate our way of life? Because war has always existed and will always exist. To increase the quantity of democracy in the world. Because we have a responsibility to the world and to freedom. For freedom. For strategic reasons. To stop a domino from setting off all the other dominoes.
And then I move on to what I think the reasons are for this war and so many others. Because our leaders need therapy. Because a bully needs a victim. Because so-called powerful men are deeply insecure. So politicians in favour of war can get elected or re-elected by voters in favour of war. To make money. To placate the arms industry and their high-priced lobbyists. To justify never-ending increases in the military budget. To distract from rampant domestic problems. To bring certain natural resources and labour into the jurisdiction of the global marketplace. To ensure these resources most benefit the capitalists doing the bombing and least benefit the people being bombed. Because it’s easier to kill people who look or sound different than you. Because hatred takes on a life of its own. To explain to the world that you do it our way or suffer the consequences. Because a protection racket needs to constantly ensure no one steps out of line or seeks protection elsewhere. So they can set up permanent military bases to keep the surrounding countries in line. Because there is no alternative. Because there is only room for one empire at a time."
- Jacob Wren, Dry Your Tears to Perfect Your Aim
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June 11, 2025
PME-ART in Harstad, Norway (June 22-24)
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PME-ART will be in Harstad, Norway
for a series of events at Festspillene i Nord-Norge
Panel: Common Things Made Holy
June 22, 2025 at 12:10pm
Moderator: Ragnheiður Skúladóttir
With: Maret Anne Sara, Stefan Schmitke, Sonya Lindfors & Jacob Wren
The DJ Who Gave Too Much Information
June 22, 2025 at 9pm
With: Caroline Dubois, Adam Kinner & Jacob Wren
Bring Your Own Record / Listening Party
June 23, 2025 at 8pm
With: Caroline Dubois, Jacob Wren & special guest Tommy Vandalsvik
*
Bonus: the letter I wrote to the audience of The DJ Who Gave Too Much Information in 2011.
And an article in the Harstad Tidende (in Norwegian but with pictures.)
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PME-ART will be in Harstad, Norway
for a series of events at Festspillene i Nord-Norge
Panel: Common Things Made Holy
June 22, 2025 at 12:10pm
Moderator: Ragnheiður Skúladóttir
With: Maret Anne Sara, Stefan Schmitke, Sonya Lindfors & Jacob Wren
The DJ Who Gave Too Much Information
June 22, 2025 at 9pm
With: Caroline Dubois, Adam Kinner & Jacob Wren
Bring Your Own Record / Listening Party
June 23, 2025 at 8pm
With: Caroline Dubois, Jacob Wren & special guest Tommy Vandalsvik
*
Bonus: the letter I wrote to the audience of The DJ Who Gave Too Much Information in 2011.
And an article in the Harstad Tidende (in Norwegian but with pictures.)
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June 10, 2025
June 2, 2025
I Make and Watch Performances
[This text was written for the Montreal edition of Oral Method in response to the prompt EXCUSEZ-MOI.]
1.
I make performances. Therefore I feel an obligation to watch performances. Lately this has been creating difficulties. I feel an obligation to watch performances made by other people, perhaps only so that they might in turn feel obligated to watch performances made by me. This is not a good reason. The difficulties are not recent but have recently intensified. The performances I watch mostly do not feature or mention current events. Many of these performances were created long before current events occurred. But current events are weighing heavily upon my interior life. I think I go see art because it is a place we can speak about the world. I think speaking about the world means speaking out against injustice. I think live performance means speaking and acting in the here and now. By this point you might have already intuited what my difficulties are.
2.
I have a fantasy. It is a fantasy I often have while I am watching a performance. The people on stage are doing whatever they are doing. I am in the audience. In the middle of the audience I stand up and begin to speak loudly. I accuse those on stage of failing to mention current injustices in the world. I do so in a charming and entertaining manner so as to win over the rest of the audience. I make my case: that by failing to mention any injustices they are like ostriches with their heads in the sand. (Ostriches don’t actually stick their heads in the sand. This is a myth.) That every moment art fails to mention painful realities is a moment when art is not doing its job, when injustices continue to proceed unchallenged. When injustices continue to devour every living moment of the world. I know I have to make my case quickly. That soon some usher, or audience member wanting to make themselves useful, will forcibly remove me. I don’t mind being removed. I just want to make my case in a manner that will not easily be forgotten.
3.
I do not necessarily require performances to speak out directly against current events. I just want to see some indication that they know these events are happening. That we are all living in the same indefensible world. I want them to know what I know and somehow let me know that they know it. I find it painful, sometimes almost unbearably so, that we are not acknowledging things that are happening every day and all around us. I also find my position unfair. Unfair to the artists on stage who are hopefully embodying and expressing something that is meaningful to them. Unfair to art, which has ways of speaking about the world that can bypass the didactic and reach toward other truths. Unfair to myself, since I am forfeiting my chance to momentarily stop thinking about the injustices of the world and enjoy watching a performance. But I do not enjoy watching these performances, and for that I probably should, but will not, apologize.
4.
Then there are performances that do directly denounce specific injustices and I don’t much care for those ones either. You can’t win with me. Because it is not enough to denounce injustice. It is not enough to say those people over there are bad and over here we’re good and that’s all you need to know about the world. The performance must also implicate the audience and do so in ways that lead to action rather than guilt. We must begin to see what is to be done and with what small steps we can begin to do it. I have not yet seen any performances that meet this perhaps unrealistic criteria. Did I mention that many of the performances I see take the form of contemporary dance. I am not sure there is any way, using the forms of contemporary dance, that one can implicate the audience in the injustices of the world and do so in ways that lead to action rather than guilt. But dance is not the problem. Rather it is more like I am going to the hardware store and trying to buy bread. They do not sell bread at the hardware store. Instead of going to watch performances, there might be other kinds of events I could attend. But I want something specific from art, and no matter how many times it disappoints me, I will never stop wanting it.
5.
I make performances. And the performances I make also do not sufficiently fulfil the criteria I have outlined above. Each time I strive toward it, and each time I fail. Since audiences do not have the same strict desires as I have, they do not seem to notice these particular failures. They notice other failures, such as the failure to entertain, or the failure to present aesthetic splendor. But mostly they are not thinking so much about failure. They are people who know how to enjoy watching a performance which is the reason they attend. I could learn from them but I will not. I will wait for one of them to stand up in the middle of the audience and quickly and loudly denounce me. I will continue to wait.
.
1.
I make performances. Therefore I feel an obligation to watch performances. Lately this has been creating difficulties. I feel an obligation to watch performances made by other people, perhaps only so that they might in turn feel obligated to watch performances made by me. This is not a good reason. The difficulties are not recent but have recently intensified. The performances I watch mostly do not feature or mention current events. Many of these performances were created long before current events occurred. But current events are weighing heavily upon my interior life. I think I go see art because it is a place we can speak about the world. I think speaking about the world means speaking out against injustice. I think live performance means speaking and acting in the here and now. By this point you might have already intuited what my difficulties are.
2.
I have a fantasy. It is a fantasy I often have while I am watching a performance. The people on stage are doing whatever they are doing. I am in the audience. In the middle of the audience I stand up and begin to speak loudly. I accuse those on stage of failing to mention current injustices in the world. I do so in a charming and entertaining manner so as to win over the rest of the audience. I make my case: that by failing to mention any injustices they are like ostriches with their heads in the sand. (Ostriches don’t actually stick their heads in the sand. This is a myth.) That every moment art fails to mention painful realities is a moment when art is not doing its job, when injustices continue to proceed unchallenged. When injustices continue to devour every living moment of the world. I know I have to make my case quickly. That soon some usher, or audience member wanting to make themselves useful, will forcibly remove me. I don’t mind being removed. I just want to make my case in a manner that will not easily be forgotten.
3.
I do not necessarily require performances to speak out directly against current events. I just want to see some indication that they know these events are happening. That we are all living in the same indefensible world. I want them to know what I know and somehow let me know that they know it. I find it painful, sometimes almost unbearably so, that we are not acknowledging things that are happening every day and all around us. I also find my position unfair. Unfair to the artists on stage who are hopefully embodying and expressing something that is meaningful to them. Unfair to art, which has ways of speaking about the world that can bypass the didactic and reach toward other truths. Unfair to myself, since I am forfeiting my chance to momentarily stop thinking about the injustices of the world and enjoy watching a performance. But I do not enjoy watching these performances, and for that I probably should, but will not, apologize.
4.
Then there are performances that do directly denounce specific injustices and I don’t much care for those ones either. You can’t win with me. Because it is not enough to denounce injustice. It is not enough to say those people over there are bad and over here we’re good and that’s all you need to know about the world. The performance must also implicate the audience and do so in ways that lead to action rather than guilt. We must begin to see what is to be done and with what small steps we can begin to do it. I have not yet seen any performances that meet this perhaps unrealistic criteria. Did I mention that many of the performances I see take the form of contemporary dance. I am not sure there is any way, using the forms of contemporary dance, that one can implicate the audience in the injustices of the world and do so in ways that lead to action rather than guilt. But dance is not the problem. Rather it is more like I am going to the hardware store and trying to buy bread. They do not sell bread at the hardware store. Instead of going to watch performances, there might be other kinds of events I could attend. But I want something specific from art, and no matter how many times it disappoints me, I will never stop wanting it.
5.
I make performances. And the performances I make also do not sufficiently fulfil the criteria I have outlined above. Each time I strive toward it, and each time I fail. Since audiences do not have the same strict desires as I have, they do not seem to notice these particular failures. They notice other failures, such as the failure to entertain, or the failure to present aesthetic splendor. But mostly they are not thinking so much about failure. They are people who know how to enjoy watching a performance which is the reason they attend. I could learn from them but I will not. I will wait for one of them to stand up in the middle of the audience and quickly and loudly denounce me. I will continue to wait.
.
May 20, 2025
May 10, 2025
Oral Method in Montreal / Saturday, May 31, 5pm
🌀📜Excusez-moi! Pardon us! Please save the date for a 🌻 free 🌻 happy hour reading at Star Bar (4671 St Laurent Blvd) on Saturday, May 31. This Mtl edition of Oral Method is co-curated w Rose Flutur and will feature much admired writers from la cool(er) province: H. Felix Chau Bradley, Eva Crocker, Marcela Huerta, Faith Paré, Sina Queyras, Jacob Wren plus illustrations & dj’ing by Amery Press
doors: 5pm, readings: 530pm
Writers will be responding to the prompt *EXCUSEZ-MOI* 🌻 perhaps conjuring the energy of overtaking someone on the sidewalk, navigating Français-English (or other language!) communication dynamics, calling someone in, asking for forgiveness, passive / aggression, or maybe even reflecting on Steve Martin (as Jacob Wren reminded us :)) 🤣
Please come, tell your friends, and support these amazing writers & artists!! 📜 🌀
Poster by: Amery Press 🙏🏻
doors: 5pm, readings: 530pm
Writers will be responding to the prompt *EXCUSEZ-MOI* 🌻 perhaps conjuring the energy of overtaking someone on the sidewalk, navigating Français-English (or other language!) communication dynamics, calling someone in, asking for forgiveness, passive / aggression, or maybe even reflecting on Steve Martin (as Jacob Wren reminded us :)) 🤣
Please come, tell your friends, and support these amazing writers & artists!! 📜 🌀
Poster by: Amery Press 🙏🏻
Some passages from The Fantasy and Necessity of Solidarity by Sarah Schulman
Some passages from The Fantasy and Necessity of Solidarity by Sarah Schulman:
*
“Regardless of specificity, solidarity always requires awareness, self-criticism, consciousness, the decision to act, and the need to create strategy, to build alliances, and to listen. It always requires taking chances, making mistakes, and trying again.”
*
“The US entertainment industry is one of the last places a person can find solidarity.
Most corporate-produced culture is filled with terrible values, is blatantly retrograde or – at best – meaningless, which is its own politic. The product exists to make money for people who have fun solving intense but tightly focused problems. Its social function is to create individuals who can feed the need for fame, upon which American marketing depends. A friend once pointed out to me that America’s greatest exports are film/TV and weapons, and most of the highest-grossing films and TV glorifies violence in a way that serves as advertisement for weapons.
I am not the only person who reads incredible reviews for plays or movies or TV shows that turn out to be banal, repetitive, or nonsensical. Part of the problem is that print and online critical publications are tied to the marketplace. Critics mostly write about books or actors or writers or filmmakers who have a new product on the market right now, rather than works that the critic feels illuminate our current moment.
It occurs to me that most (not all) of these institutions that drive me crazy have historically and consistently excluded, watered down, or marginalized the more interesting and necessary ideas in any given period. Risky and exciting movements of forward-thinking people were usually debased or ignored, while avoidant or repetitive work was elevated and glorified, and then given awards. This system of repetition is reinforced psychologically by the creation and strict maintenance of a scarcity-based concept of an elite. If an artist or intellectual or activist or any combination thereof is looking for non-market-based support adequate to live safely and comfortably while following their gifts full-time, it’s literally a MacArthur or nothing. Repetitive ideas are selected by gatekeepers, elevated by critics, rewarded with prizes, and branded as good and important, when they are often actually stagnant. We have collectively underestimated the ultimate danger of that entrenched cycle. It turned out to be far more sinister than just boring, as corporate entertainment sells bad values about humans being expendable and worth destroying when compared to the risk of losing social status or influence with funders. Cultural producers should be joining the large numbers of people trying to stop this war on Gaza, but either being quiet or supporting the killing is actually consistent with the norm.”
*
“What makes it so confusing is their embedded accompanying system of self-praise telling us repeatedly that the repetitive, banal ideas in mass circulation are special and deserve reward. Year after year we are told through many selections at elections, through promotions or even the Oscars, Tonys, Pulitzers, and the full range of intellectual and citizenship awards in corporate marketing venues, that irrelevant products deserve to be the focus of our attention and should be replicated. This reinforces the idea that the way things are is not only great, but the best. This merry-go-round debases and marginalizes risky, exciting movements of forward-thinking people while elevating and glorifying avoidant work that pretends away the most important questions of our time: Who has the power, and why?”
*
“It was a cultural moment that made white writers look in the mirror and wonder if we have been confusing it with a window.”
*
*
“Regardless of specificity, solidarity always requires awareness, self-criticism, consciousness, the decision to act, and the need to create strategy, to build alliances, and to listen. It always requires taking chances, making mistakes, and trying again.”
*
“The US entertainment industry is one of the last places a person can find solidarity.
Most corporate-produced culture is filled with terrible values, is blatantly retrograde or – at best – meaningless, which is its own politic. The product exists to make money for people who have fun solving intense but tightly focused problems. Its social function is to create individuals who can feed the need for fame, upon which American marketing depends. A friend once pointed out to me that America’s greatest exports are film/TV and weapons, and most of the highest-grossing films and TV glorifies violence in a way that serves as advertisement for weapons.
I am not the only person who reads incredible reviews for plays or movies or TV shows that turn out to be banal, repetitive, or nonsensical. Part of the problem is that print and online critical publications are tied to the marketplace. Critics mostly write about books or actors or writers or filmmakers who have a new product on the market right now, rather than works that the critic feels illuminate our current moment.
It occurs to me that most (not all) of these institutions that drive me crazy have historically and consistently excluded, watered down, or marginalized the more interesting and necessary ideas in any given period. Risky and exciting movements of forward-thinking people were usually debased or ignored, while avoidant or repetitive work was elevated and glorified, and then given awards. This system of repetition is reinforced psychologically by the creation and strict maintenance of a scarcity-based concept of an elite. If an artist or intellectual or activist or any combination thereof is looking for non-market-based support adequate to live safely and comfortably while following their gifts full-time, it’s literally a MacArthur or nothing. Repetitive ideas are selected by gatekeepers, elevated by critics, rewarded with prizes, and branded as good and important, when they are often actually stagnant. We have collectively underestimated the ultimate danger of that entrenched cycle. It turned out to be far more sinister than just boring, as corporate entertainment sells bad values about humans being expendable and worth destroying when compared to the risk of losing social status or influence with funders. Cultural producers should be joining the large numbers of people trying to stop this war on Gaza, but either being quiet or supporting the killing is actually consistent with the norm.”
*
“What makes it so confusing is their embedded accompanying system of self-praise telling us repeatedly that the repetitive, banal ideas in mass circulation are special and deserve reward. Year after year we are told through many selections at elections, through promotions or even the Oscars, Tonys, Pulitzers, and the full range of intellectual and citizenship awards in corporate marketing venues, that irrelevant products deserve to be the focus of our attention and should be replicated. This reinforces the idea that the way things are is not only great, but the best. This merry-go-round debases and marginalizes risky, exciting movements of forward-thinking people while elevating and glorifying avoidant work that pretends away the most important questions of our time: Who has the power, and why?”
*
“It was a cultural moment that made white writers look in the mirror and wonder if we have been confusing it with a window.”
*
April 28, 2025
Some passages from Touching the Art by Mattilda Bernstein Sycamore
Some passages from Touching the Art by Mattilda Bernstein Sycamore:
*
And how this happened for me too – twenty years ago, when my chronic pain first became debilitating and I couldn’t write like I used to, in frantic bursts trying to get everything out. So I decided to write a few sentences a day, with no intention of plot or structure, and after a few years I was shocked to find I had over four hundred pages. And that text became my second novel.
*
How music always carries the memory of when you first heard this music. How this can be a burden. How this can be glorious. How this can be suffocating. How this can make you shake. How this can make you sing. How this can make you dance. And this can be true of visual art too.
Sometimes, when the CD skips, I think maybe I should stop listening to CDs. And sometimes, when the CD skips, I think this is what it feels like to really love something.
*
Gladys saw herself as a contemporary artist, so she didn’t want to be defined by the past. She wanted her art to be considered on its own. But then Bobby wrote the catalog copy, and she rejected it. So someone else was hired to write it.
Bobby says Gladys was not a risk-taker, she was fiercely competitive with herself and how she saw herself among Baltimore artists, but she turned her back on the professional art establishment, and after that she didn’t pursue a professional career, and you can’t expect the world to come to you. She enjoyed the process of painting, and put that above anything else.
Like many artists of her generation, Bobby says, Gladys made the mistake of thinking that genius will be discovered.
*
When someone asks what is your writing process, I think it must be to try and try and then finally, in the gap between the limits of my body and the possibility of pulling something through, somewhere in that gap—
*
Maybe a different way to say history repeats itself would be to say history never resolves itself. History is a lesson, this may be true, but, as with any other lesson, the people who need it the most rarely listen.
*
*
And how this happened for me too – twenty years ago, when my chronic pain first became debilitating and I couldn’t write like I used to, in frantic bursts trying to get everything out. So I decided to write a few sentences a day, with no intention of plot or structure, and after a few years I was shocked to find I had over four hundred pages. And that text became my second novel.
*
How music always carries the memory of when you first heard this music. How this can be a burden. How this can be glorious. How this can be suffocating. How this can make you shake. How this can make you sing. How this can make you dance. And this can be true of visual art too.
Sometimes, when the CD skips, I think maybe I should stop listening to CDs. And sometimes, when the CD skips, I think this is what it feels like to really love something.
*
Gladys saw herself as a contemporary artist, so she didn’t want to be defined by the past. She wanted her art to be considered on its own. But then Bobby wrote the catalog copy, and she rejected it. So someone else was hired to write it.
Bobby says Gladys was not a risk-taker, she was fiercely competitive with herself and how she saw herself among Baltimore artists, but she turned her back on the professional art establishment, and after that she didn’t pursue a professional career, and you can’t expect the world to come to you. She enjoyed the process of painting, and put that above anything else.
Like many artists of her generation, Bobby says, Gladys made the mistake of thinking that genius will be discovered.
*
When someone asks what is your writing process, I think it must be to try and try and then finally, in the gap between the limits of my body and the possibility of pulling something through, somewhere in that gap—
*
Maybe a different way to say history repeats itself would be to say history never resolves itself. History is a lesson, this may be true, but, as with any other lesson, the people who need it the most rarely listen.
*
April 24, 2025
truly amazing!
.
Really nice to see this very concise Goodreads review for my book Authenticity is a Feeling: My Life in PME-ART.
Really nice to see this very concise Goodreads review for my book Authenticity is a Feeling: My Life in PME-ART.
April 23, 2025
a demand
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"Without a demand - power concedes nothing."
[This statement was projected behind Gang of Four when I saw them perform the other night. I have since learned that it is a quote from Frederick Douglass.]
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"Without a demand - power concedes nothing."
[This statement was projected behind Gang of Four when I saw them perform the other night. I have since learned that it is a quote from Frederick Douglass.]
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April 21, 2025
in the gears
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If you are pushing a theory that puts oil in the gears of the status quo, it is different than if you’re pushing a theory that puts sand in the gears. The gears will still turn, but nonetheless it is different.
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If you are pushing a theory that puts oil in the gears of the status quo, it is different than if you’re pushing a theory that puts sand in the gears. The gears will still turn, but nonetheless it is different.
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April 19, 2025
trying to convince myself
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I’m not trying to convince you. I’m trying to convince myself. That there is art worth fighting for. And art worth fighting against.
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I’m not trying to convince you. I’m trying to convince myself. That there is art worth fighting for. And art worth fighting against.
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April 16, 2025
Nick Romeo on José María Arizmendiarrieta
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In his collected writings, José María Arizmendiarrieta championed a revolutionary pragmatism. To deserve the name, idealists must take their own goals seriously enough to try to realize them. “The ideal thing is to do the good that can be done, not the good that is dreamt of,” he wrote. The value of lofty ideals lies in their capacity to inspire action: “Great ideals do not have to be precisely attainable to be useful to us.” For those who critique current systems but create nothing better to replace them, his words still offer a pointed challenge: build institutions, develop capacities, and change legislation. “No moans but action,” he urged. The noblest ideals risk becoming empty rhetoric if not married to effective and disciplined execution. “Being badly organized should not be confused with having respect for freedom.”
Despite his eloquent insistence on pragmatic action, Arizmendiarrieta also rejected a utilitarianism that values only results. How something is achieved matters. “It is not enough for the managers and bosses to perform good deeds, it is necessary that the workers participate,” he wrote. If an enlightened executive in a traditional company chose to cap their pay at six times the salary of the lowest-paid employee, this would be good. It would also resemble the decree of an enlightened monarch. Within Mondragon, members of the cooperatives have voted democratically on the ratio between the highest and lowest compensation levels. Particular cooperatives are free to have a ratio smaller than 6:1, as many do; member-owners could also vote to expand the ratio in the future. Mondragon’s institutional design depends on democracy. It can flourish only if most individuals continue to value its traditions of equality and solidarity. Rather than assuming that markets alchemize private greed into public good, Arizmendiarrieta built the cooperatives in a way that emphasized both institutional safeguards and individual moral character: “There can never be great works without people giving generously and without them sacrificing their selfish appetites,” he wrote.
Arizmendiarrieta’s defiance of easy categorization makes him a provocative challenge to many contemporary shibboleths. He created effective institutions without ignoring the importance of individual ethics; he recognized the value of capital and profit but saw both as subordinate to broader social aims; he created a business structure that competed effectively in international markets while rejecting basic assumptions of capitalist firms. Perhaps most astonishing of all, his insights were not merely theoretical achievements; they were realized in a dense web of structures that have become the largest worker-owned cooperative in the world.
– Nick Romeo, The Alternative: How to Build a Just Economy
.
In his collected writings, José María Arizmendiarrieta championed a revolutionary pragmatism. To deserve the name, idealists must take their own goals seriously enough to try to realize them. “The ideal thing is to do the good that can be done, not the good that is dreamt of,” he wrote. The value of lofty ideals lies in their capacity to inspire action: “Great ideals do not have to be precisely attainable to be useful to us.” For those who critique current systems but create nothing better to replace them, his words still offer a pointed challenge: build institutions, develop capacities, and change legislation. “No moans but action,” he urged. The noblest ideals risk becoming empty rhetoric if not married to effective and disciplined execution. “Being badly organized should not be confused with having respect for freedom.”
Despite his eloquent insistence on pragmatic action, Arizmendiarrieta also rejected a utilitarianism that values only results. How something is achieved matters. “It is not enough for the managers and bosses to perform good deeds, it is necessary that the workers participate,” he wrote. If an enlightened executive in a traditional company chose to cap their pay at six times the salary of the lowest-paid employee, this would be good. It would also resemble the decree of an enlightened monarch. Within Mondragon, members of the cooperatives have voted democratically on the ratio between the highest and lowest compensation levels. Particular cooperatives are free to have a ratio smaller than 6:1, as many do; member-owners could also vote to expand the ratio in the future. Mondragon’s institutional design depends on democracy. It can flourish only if most individuals continue to value its traditions of equality and solidarity. Rather than assuming that markets alchemize private greed into public good, Arizmendiarrieta built the cooperatives in a way that emphasized both institutional safeguards and individual moral character: “There can never be great works without people giving generously and without them sacrificing their selfish appetites,” he wrote.
Arizmendiarrieta’s defiance of easy categorization makes him a provocative challenge to many contemporary shibboleths. He created effective institutions without ignoring the importance of individual ethics; he recognized the value of capital and profit but saw both as subordinate to broader social aims; he created a business structure that competed effectively in international markets while rejecting basic assumptions of capitalist firms. Perhaps most astonishing of all, his insights were not merely theoretical achievements; they were realized in a dense web of structures that have become the largest worker-owned cooperative in the world.
– Nick Romeo, The Alternative: How to Build a Just Economy
.
April 12, 2025
One Yes & Many Know
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I’m always trying out different titles for books I’m working on. Currently I’m trying out: One Yes & Many Know.
.
I’m always trying out different titles for books I’m working on. Currently I’m trying out: One Yes & Many Know.
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April 10, 2025
Two short quotes from Rich and Poor
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“I start to think fear is the most furious part of courage. Knowing how full and real and justified your fears are but still not letting them stop you.”
- Jacob Wren, Rich and Poor (p. 144)
“I must experience everything that is about to happen to me as fully as possible, I must experience it as some kind of joy. I can’t just let it all speed by without living it fully. I can’t let this life or this struggle happen without me.”
- Jacob Wren, Rich and Poor (p. 176)
*
[Someone posted these two quotes on Goodreads and, even though I don't remember writing either of them, they struck me as things I was rather happy to have written.]
*
Also, I suppose thanks to Luigi Mangione, more people seem to be reading my 2016 novel Rich and Poor. (It’s about a man who washes dishes for a living who decides to kill a billionaire as a political act.)
.
“I start to think fear is the most furious part of courage. Knowing how full and real and justified your fears are but still not letting them stop you.”
- Jacob Wren, Rich and Poor (p. 144)
“I must experience everything that is about to happen to me as fully as possible, I must experience it as some kind of joy. I can’t just let it all speed by without living it fully. I can’t let this life or this struggle happen without me.”
- Jacob Wren, Rich and Poor (p. 176)
*
[Someone posted these two quotes on Goodreads and, even though I don't remember writing either of them, they struck me as things I was rather happy to have written.]
*
Also, I suppose thanks to Luigi Mangione, more people seem to be reading my 2016 novel Rich and Poor. (It’s about a man who washes dishes for a living who decides to kill a billionaire as a political act.)
.
April 3, 2025
Ambition...
.
I try to differentiate between artistic ambition and career ambition. And I try to see artistic ambition as the ambition to make something I find meaningful and career ambition as the ambition to make something other people will like. Since I don't really know what other people like I try to lean away from that impulse, and instead tell myself that if I make something I really like, some other people will like it as well.
Somehow related to: Six sentences concerning art and jealousy
.
I try to differentiate between artistic ambition and career ambition. And I try to see artistic ambition as the ambition to make something I find meaningful and career ambition as the ambition to make something other people will like. Since I don't really know what other people like I try to lean away from that impulse, and instead tell myself that if I make something I really like, some other people will like it as well.
Somehow related to: Six sentences concerning art and jealousy
.
March 30, 2025
March 26, 2025
Voting
.
Now we have fascism. But there were tyrants long before the invention of fascism. One of the things that makes fascism different is this situation in which large numbers of people vote the tyrants into power. It is difficult to know to what extent these voters get what they want, since it all takes place awash in endless propaganda. Nonetheless, the dispiriting feeling that not only are so many evil things being done, but that so many people voted for them, is perhaps at the heart of why it is so difficult to know, with any certainty, what are the best strategies and tactics to bring about positive change. How to harness mass desires in ways that bring about greater fairness, kindness and care?
.
Now we have fascism. But there were tyrants long before the invention of fascism. One of the things that makes fascism different is this situation in which large numbers of people vote the tyrants into power. It is difficult to know to what extent these voters get what they want, since it all takes place awash in endless propaganda. Nonetheless, the dispiriting feeling that not only are so many evil things being done, but that so many people voted for them, is perhaps at the heart of why it is so difficult to know, with any certainty, what are the best strategies and tactics to bring about positive change. How to harness mass desires in ways that bring about greater fairness, kindness and care?
.
March 16, 2025
Soha Bechara Quote
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"For my friends and I, there was life after Khiam. For a time, with the great joy of the liberation of the South, life even became beautiful. It was a rare moment of unity for the Lebanese. For fifteen years, with guns in hand, they had torn each other to shreds, and after a peace that refused to deal with the damage they had done each other, they remained deeply divided, too irresponsible to heal such painful wounds. The liberation showed how our civil war had been, like any fratricidal conflict, a vain illusion when compared with the strength of our resistance against the Israeli occupation.
Khiam grudgingly returned to life so many damaged human beings, cracked and broken. Like all camps of its kind, its goal was to humiliate, to crush, to deny the existence of those it fed upon.
There remains the basic cause for which I fought: a free Lebanon, a country at peace. This is above all a question of memory. If the people of Lebanon let themselves forget, then this hope will be lost and the spirit of the Resistance vanish.
I accepted the idea of dying for my country. I feel connected to the whole planet, to all of humanity, but Lebanon was where I was born and where I grew up. For me, the idea of my country is as simple as the air I breathe. I belong to this piece of earth, and it was from this piece of earth that they tried to banish me. I became a child of war. We never appreciate what it means to live in peace until that peace is no more. It must be understood what it is to grow up under an occupation, to live at the mercy of checkpoints and curfews, stripped of liberty and identity. At some point, with all the massacres, with all the killings, my own blood began to beat in rhythm with the blood around me. I decided to join the struggle. No amount of indoctrination can drive someone to act if that person does not believe in the cause, has not understood it, has not decided to live or even die for it. I knew what was in store, but this knowledge had no power to stop me. When I joined the Resistance, after four years of searching, I did not go alone. My family, my friends, my people—everything that made me who I am—all of it went with me. In the same way, I did not act in my own name as an isolated individual. I felt like all the Lebanese were at my side. My act, the operation itself, was a letter sent to them. In the face of the madness of civil war, it was a message of resistance directed again the real enemy.
In Khiam, I tried to keep resisting. It was the same struggle fought with different weapons, still against the same occupying power. Now the struggle became constant, a matter of holding your own at every moment. Those who broke down, or became informers, were those who did not understand the reality of occupation and resistance, those who could not grasp the radicality of freedom. To have stopped fighting would have been to turn my back on what it means, for all of us, to be human.
Every day, every minute, you hold yourself together—you try not to end up in that other prison, horrible and definitive, the mental hospital. You hear voices of men screaming, of women pleading, you see a mother whose son is torn from her, a grandmother dragged into the torture room, you try to tell the girl in the next cell not to scratch the eczema that devours her body. You don't give in, you don't give away any emotion, or the enemy has won. The prison locks you inside your thoughts, time washes away your memories, your loves, your childhood. Fear is always there. You know that in yourself you have found your ultimate adversary, and that you must once again go beyond yourself to find your freedom, once more, you must resist.
Sometimes in the camp, a laugh, a little improvised scene was enough to overcome the horror. Today, some innocuous things can take me back for a moment to my solitary cell with its floor of beaten earth. But only for a moment. It is not this memory which fills me now, but that of a whole people and its future—the spirit of resistance. Because what I did, I did for tomorrow's children, for that fragile time when they will play in the shade of trees, and the air will echo with their shouts of joy."
- Soha Bechara, imprisoned in 1988 at the age of 21 for attempting to assassinate Antoine Lahad, leader of the Israeli-proxy South Lebanese Army. She was held in the Israeli-linked Khiam camp until 1998. Khiam was liberated on May 24, 2000 as Israel pulled out of South Lebanon.
.
"For my friends and I, there was life after Khiam. For a time, with the great joy of the liberation of the South, life even became beautiful. It was a rare moment of unity for the Lebanese. For fifteen years, with guns in hand, they had torn each other to shreds, and after a peace that refused to deal with the damage they had done each other, they remained deeply divided, too irresponsible to heal such painful wounds. The liberation showed how our civil war had been, like any fratricidal conflict, a vain illusion when compared with the strength of our resistance against the Israeli occupation.
Khiam grudgingly returned to life so many damaged human beings, cracked and broken. Like all camps of its kind, its goal was to humiliate, to crush, to deny the existence of those it fed upon.
There remains the basic cause for which I fought: a free Lebanon, a country at peace. This is above all a question of memory. If the people of Lebanon let themselves forget, then this hope will be lost and the spirit of the Resistance vanish.
I accepted the idea of dying for my country. I feel connected to the whole planet, to all of humanity, but Lebanon was where I was born and where I grew up. For me, the idea of my country is as simple as the air I breathe. I belong to this piece of earth, and it was from this piece of earth that they tried to banish me. I became a child of war. We never appreciate what it means to live in peace until that peace is no more. It must be understood what it is to grow up under an occupation, to live at the mercy of checkpoints and curfews, stripped of liberty and identity. At some point, with all the massacres, with all the killings, my own blood began to beat in rhythm with the blood around me. I decided to join the struggle. No amount of indoctrination can drive someone to act if that person does not believe in the cause, has not understood it, has not decided to live or even die for it. I knew what was in store, but this knowledge had no power to stop me. When I joined the Resistance, after four years of searching, I did not go alone. My family, my friends, my people—everything that made me who I am—all of it went with me. In the same way, I did not act in my own name as an isolated individual. I felt like all the Lebanese were at my side. My act, the operation itself, was a letter sent to them. In the face of the madness of civil war, it was a message of resistance directed again the real enemy.
In Khiam, I tried to keep resisting. It was the same struggle fought with different weapons, still against the same occupying power. Now the struggle became constant, a matter of holding your own at every moment. Those who broke down, or became informers, were those who did not understand the reality of occupation and resistance, those who could not grasp the radicality of freedom. To have stopped fighting would have been to turn my back on what it means, for all of us, to be human.
Every day, every minute, you hold yourself together—you try not to end up in that other prison, horrible and definitive, the mental hospital. You hear voices of men screaming, of women pleading, you see a mother whose son is torn from her, a grandmother dragged into the torture room, you try to tell the girl in the next cell not to scratch the eczema that devours her body. You don't give in, you don't give away any emotion, or the enemy has won. The prison locks you inside your thoughts, time washes away your memories, your loves, your childhood. Fear is always there. You know that in yourself you have found your ultimate adversary, and that you must once again go beyond yourself to find your freedom, once more, you must resist.
Sometimes in the camp, a laugh, a little improvised scene was enough to overcome the horror. Today, some innocuous things can take me back for a moment to my solitary cell with its floor of beaten earth. But only for a moment. It is not this memory which fills me now, but that of a whole people and its future—the spirit of resistance. Because what I did, I did for tomorrow's children, for that fragile time when they will play in the shade of trees, and the air will echo with their shouts of joy."
- Soha Bechara, imprisoned in 1988 at the age of 21 for attempting to assassinate Antoine Lahad, leader of the Israeli-proxy South Lebanese Army. She was held in the Israeli-linked Khiam camp until 1998. Khiam was liberated on May 24, 2000 as Israel pulled out of South Lebanon.
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March 9, 2025
Individualism Was A Mistake (But We’ll Miss It When It’s Gone)
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[This text was originally published in French translation in the book Curieux manuel de dramaturgie pour le théâtre, la danse et autres matières à changement.]
Over the past thirty years I have written a great deal about artistic collaboration but I worry that, despite my attempts to be completely honest on the topic, I have often ended up being less than completely honest. When I started making collaborative group performances I was a teenager, that was over thirty years ago, and I desperately wanted to believe that working together we could make something so much better than any of us could make on our own. I still have a strong desire to believe this. And perhaps belief gets me a little bit closer to the heart of the matter. The desire for a belief. To believe in something. I’m remembering a line from the Czech poet Vladimír Holan: “But we who do not believe are always expecting something…“ I find that I’m still expecting something and sometimes the name I give to this sense of expectation is collaboration.
In the Jewish education of my youth, most of which I’ve almost completely disowned, the name given to people who helped the Nazis was “collaborators.” When I think of the word “politics” my first immediate associations are leftist politics and activism. When I think of the word “collaboration” my first immediate associations are intriguing artistic collectives. But fascism is also politics. “Collaborators” are also engaged in collaboration. (Every word is a double-edged sword.) I often think of artistic collaboration as a difficult friend, a friend I’m happy to have but who at any moment might do something that would make me extremely unhappy. Sometimes even friendship can be like this, and you need to put in the hard work to find the best way to remain friends.
In these matters, as with so many things, it is less about method and more about something else. But what exactly? A sense of ethical reflection? Letting an artistic reality of “not knowing” be one’s guide? A realization that we’ve all had different life experiences and within the space created by such differences we might might find something closer to truth? Letting experiences evolve into wisdom, though it is extremely unfashionable today to speak in these terms. And, whatever terms one might use, such ethical reflections, experiences and wisdom must somehow be embodied within the method. Also, open to change over time. Also, it will always be less than perfect and imperfection should be its guide. I am still searching for all of these things.
Then there is practical matter of what I’ve actually experienced during such collaborations. The chasm between theory and practice is noticeable. Sometimes I think: if I want to move my practice closer to my ideals, I need to change the goals. Perhaps the goal is to make something I don’t like. Because then I’ll truly know I wasn’t the one who made it. That it’s not overly based on my own idiosyncratic tastes. That it was something made by all of us. By the same logic the goal could be to make something equally loved by all of us. However, this seems rather difficult to do. Perhaps the heart of the matter is not belief but compromise. What is an artistically productive compromise? What does it look and feel like? Such thoughts might be alalogous to discourses that value process over product, but I fear I’m too much of an artist (for my own good) not to be overly focused on the end result. On the other hand, perhaps many of the works I’ve been involved in do in fact look more like process than they do like product, with aspects of collaboration foregrounded and embodied. The differences between the collaborating artists become the visible cornerstone of the work, which is one way of understanding what process is.
With every collaboration I’ve ever been a part of, the overarching goal was to make something that would be performed in front of an audience. Collaboration was never an end in and of itself. For me, the idea of art has always been connected to the idea of an audience. I’m attracted to the possibility of making something and keeping it secret, but I’m attracted to it mainly because it undermines most of my key conceptions regarding art. For me, art is when you make something and attempt to show it to a large number of people over time. When you do so, you put your name on the line. You invite judgement. People can say you’re a good or a bad artist. (Or a good or bad collaborator? But since they weren’t present during the process how could they actually know.) As the prospect of an audience grows closer, this sense of an impending judgement always creeps into the process of the collaboration and often begins to dominate.
As we know, this business of the “artists name” is deeply connected to capitalism. An artist puts their name on a work so that they are able to profit from it. It is significantly more difficult to profit from a highly collaborative work. And the more artists involved in the work, the more difficult it is for each individual artist to profit from it. However, what I have found most depressing over the years is how difficult it is for a collaborative group to collectively profit from their collaborative work. Art institutions almost always gravitate toward presenting art as something made by a single name, no matter how many people worked on it. And despite all my longing for collaboration, I cannot deny the incredible charge I get from seeing my own singular name printed on a giant poster or on the cover of a book. For me, every time this happens, I feel a little bit like my ego is on cocaine (followed by the slight hangover of guilt for having such a big ego in the first place.) I worry this feeling is a large part of what has undermined my ability to make collaboration a more satisfying and effective part of my artistic life. Even though so much of my life has been dedicated to artistic collaboration, the cocaine-ego feeling of pushing my singular name too often wins out. I realize that many (or most) artists don’t even question this aspect of the state of things. Never question their name on the poster. Never question why their name is a priori the most important one when others worked on the project alongside them. I have questioned all of this a great deal but with what results? Nonetheless, I simply can’t live with the fact that so often the underlying meaning of art is that people accomplish things alone, that the artist makes the work and has a final say in its authorship. Since no one does anything alone. Everything is part of an interrelated web.
So I return to collaboration over and over again. Trying to learn from my mistakes and making every new kind of mistake in the process. Sometimes I feel mentally trapped in the previous century: the battle between communism and capitalism, between collectivity and individualism. (Though, for me, the Soviet Union was often little more than a form of state capitalism, and technological breakthroughs in the West were made possible through state funded research and the collectivity of taxation.) But if I try to move my thinking a little bit more into our current century, I feel all sorts of new energies continuously forming. A new emphasis on care as the most politically radical position. Activists working on Transformative Justice, which has to do with addressing harm within community without ever calling the police. When I read about Transformative Justice I find it incredibly inspiring and also clearly see how difficult the work can be. The logic of Eurocentric-derived cultures are completely tied up in notions of punishment. Searching for different ways of dealing with harm, for methods of accountability and healing that sidestep the logic of punishment, is counterintuitive for so many people, and therefore has to be learned (or learned again) almost as if from scratch. Often there is frustration around situations where a Transformative Justice process was attempted and it simply doesn’t work. These activists are pushing forward toward a time in the future when hopefully more people will have found ways to reduce harm within community, or where experiments in that direction have led to other kinds of transformative discoveries, and therefore cannot allow themselves to be overly discouraged.
Reading about Transformative Justice, I very much recognize the description of a certain very specific kind of frustration, of a process where sometimes it “simply doesn’t work,” from my long history of making collaborative performances. In Transformative Justice movements they are working toward a world without police and without prisons. A great deal of the time I don’t entirely know what I’m working toward. Just to be a different kind of artist, to collaboratively make one really good show, not to worry so much about pushing my name. My name is at the top of the first page of this text. I could have tried to write it collaboratively with someone, but I don’t actually have anyone in my life I’m able to do that with. (Once again, the chasm between theory and practice.) Perhaps it’s about belief. And perhaps it’s about compromise. And perhaps it’s about loneliness.
What is an artistically productive compromise? What does it look and feel like? I still don’t really know. But I do know that I absolutely don’t want it to be about sanding down your personality or your desires to suit the needs of the group. I am hoping for strong individual personalities that together search for, and hopefully often discover, a multitude of different ways to effectively work together. And find equally useful ways to manage the many conflicts that arise along the way. I don’t need to be less of myself in order to connect with your point of view. A compromise is not that I have to completely give something up, but rather that I come to see the value, in the moment, of doing something differently.
When I put my name on the cover of a book, I also think of it as being in dialog with all the other books that have been written, one node in the interrelated web of books. As Italo Calvino writes: “Literature – even though people usually study it author by author – is always a dialog amongst many voices which intersect and reply to each other within literature and outside it.” I have often written about how I live a double life, one half spent writing novels, the other half spent making collaborative performances. Books are the activity I do (mostly) alone and performances are the activity I do with other people. I find writing books much, much easier than making collaborative performances. So often I find myself wondering if, for this reason, I should give up making performances and only write books. There is much about me that fits the cliché of the melancholy writer, the dandy, the flâneur, wandering alone amongst the city within my melancholy thoughts which I will later write down in an attempt to communicate something that goes far beyond my own narrow experience.
I’m not sure what kinds of personalities are most and least suited for working collaboratively but, if I were to make a list, the melancholy flâneur probably would rank rather high in the least suited column. And this must be yet another reason I do it, somehow going against my nature, trying to open up a world, the world of my own thoughts, that always suggests the best thing to do would be to shut everything down. The desire for artistic collaboration, at least for me, is a desire to find a third way between solitude and community, and it is less important that this third way actually exist then that I manage to keep alive the search for it. In this sense it truly is an impossible dramaturgy.
But it is not just a struggle within my thoughts. It is something I actually do with other people. Each time we start again we cannot fully rely on the maps we’ve made in the past. We have to concretely deal with the task at hand, in the moment, deciding from moment to moment when to fight and when to compromise, what aspects of the work are most important to us, what we think we are making and why, and how might it be possible for us to make it better together than any of us might be able to make it alone.
*
[As well, as some of you might already know, Individualism Was a Mistake is also the title of a performance PME-ART made in 2008.]
.
[This text was originally published in French translation in the book Curieux manuel de dramaturgie pour le théâtre, la danse et autres matières à changement.]
“But part of it is that if you are really committed to working collectively you have to give up some of your preciousness around style.”
– Fred Moten and Stefano Harney
“I’m thinking of a labor movement, but one very different than the kind we’ve already seen. A labor movement that manages to finally ditch all traces of the ideology that says that work is a value in itself, but rather redefines labor as caring for other people.”
– David Graeber
Over the past thirty years I have written a great deal about artistic collaboration but I worry that, despite my attempts to be completely honest on the topic, I have often ended up being less than completely honest. When I started making collaborative group performances I was a teenager, that was over thirty years ago, and I desperately wanted to believe that working together we could make something so much better than any of us could make on our own. I still have a strong desire to believe this. And perhaps belief gets me a little bit closer to the heart of the matter. The desire for a belief. To believe in something. I’m remembering a line from the Czech poet Vladimír Holan: “But we who do not believe are always expecting something…“ I find that I’m still expecting something and sometimes the name I give to this sense of expectation is collaboration.
In the Jewish education of my youth, most of which I’ve almost completely disowned, the name given to people who helped the Nazis was “collaborators.” When I think of the word “politics” my first immediate associations are leftist politics and activism. When I think of the word “collaboration” my first immediate associations are intriguing artistic collectives. But fascism is also politics. “Collaborators” are also engaged in collaboration. (Every word is a double-edged sword.) I often think of artistic collaboration as a difficult friend, a friend I’m happy to have but who at any moment might do something that would make me extremely unhappy. Sometimes even friendship can be like this, and you need to put in the hard work to find the best way to remain friends.
In these matters, as with so many things, it is less about method and more about something else. But what exactly? A sense of ethical reflection? Letting an artistic reality of “not knowing” be one’s guide? A realization that we’ve all had different life experiences and within the space created by such differences we might might find something closer to truth? Letting experiences evolve into wisdom, though it is extremely unfashionable today to speak in these terms. And, whatever terms one might use, such ethical reflections, experiences and wisdom must somehow be embodied within the method. Also, open to change over time. Also, it will always be less than perfect and imperfection should be its guide. I am still searching for all of these things.
Then there is practical matter of what I’ve actually experienced during such collaborations. The chasm between theory and practice is noticeable. Sometimes I think: if I want to move my practice closer to my ideals, I need to change the goals. Perhaps the goal is to make something I don’t like. Because then I’ll truly know I wasn’t the one who made it. That it’s not overly based on my own idiosyncratic tastes. That it was something made by all of us. By the same logic the goal could be to make something equally loved by all of us. However, this seems rather difficult to do. Perhaps the heart of the matter is not belief but compromise. What is an artistically productive compromise? What does it look and feel like? Such thoughts might be alalogous to discourses that value process over product, but I fear I’m too much of an artist (for my own good) not to be overly focused on the end result. On the other hand, perhaps many of the works I’ve been involved in do in fact look more like process than they do like product, with aspects of collaboration foregrounded and embodied. The differences between the collaborating artists become the visible cornerstone of the work, which is one way of understanding what process is.
With every collaboration I’ve ever been a part of, the overarching goal was to make something that would be performed in front of an audience. Collaboration was never an end in and of itself. For me, the idea of art has always been connected to the idea of an audience. I’m attracted to the possibility of making something and keeping it secret, but I’m attracted to it mainly because it undermines most of my key conceptions regarding art. For me, art is when you make something and attempt to show it to a large number of people over time. When you do so, you put your name on the line. You invite judgement. People can say you’re a good or a bad artist. (Or a good or bad collaborator? But since they weren’t present during the process how could they actually know.) As the prospect of an audience grows closer, this sense of an impending judgement always creeps into the process of the collaboration and often begins to dominate.
As we know, this business of the “artists name” is deeply connected to capitalism. An artist puts their name on a work so that they are able to profit from it. It is significantly more difficult to profit from a highly collaborative work. And the more artists involved in the work, the more difficult it is for each individual artist to profit from it. However, what I have found most depressing over the years is how difficult it is for a collaborative group to collectively profit from their collaborative work. Art institutions almost always gravitate toward presenting art as something made by a single name, no matter how many people worked on it. And despite all my longing for collaboration, I cannot deny the incredible charge I get from seeing my own singular name printed on a giant poster or on the cover of a book. For me, every time this happens, I feel a little bit like my ego is on cocaine (followed by the slight hangover of guilt for having such a big ego in the first place.) I worry this feeling is a large part of what has undermined my ability to make collaboration a more satisfying and effective part of my artistic life. Even though so much of my life has been dedicated to artistic collaboration, the cocaine-ego feeling of pushing my singular name too often wins out. I realize that many (or most) artists don’t even question this aspect of the state of things. Never question their name on the poster. Never question why their name is a priori the most important one when others worked on the project alongside them. I have questioned all of this a great deal but with what results? Nonetheless, I simply can’t live with the fact that so often the underlying meaning of art is that people accomplish things alone, that the artist makes the work and has a final say in its authorship. Since no one does anything alone. Everything is part of an interrelated web.
So I return to collaboration over and over again. Trying to learn from my mistakes and making every new kind of mistake in the process. Sometimes I feel mentally trapped in the previous century: the battle between communism and capitalism, between collectivity and individualism. (Though, for me, the Soviet Union was often little more than a form of state capitalism, and technological breakthroughs in the West were made possible through state funded research and the collectivity of taxation.) But if I try to move my thinking a little bit more into our current century, I feel all sorts of new energies continuously forming. A new emphasis on care as the most politically radical position. Activists working on Transformative Justice, which has to do with addressing harm within community without ever calling the police. When I read about Transformative Justice I find it incredibly inspiring and also clearly see how difficult the work can be. The logic of Eurocentric-derived cultures are completely tied up in notions of punishment. Searching for different ways of dealing with harm, for methods of accountability and healing that sidestep the logic of punishment, is counterintuitive for so many people, and therefore has to be learned (or learned again) almost as if from scratch. Often there is frustration around situations where a Transformative Justice process was attempted and it simply doesn’t work. These activists are pushing forward toward a time in the future when hopefully more people will have found ways to reduce harm within community, or where experiments in that direction have led to other kinds of transformative discoveries, and therefore cannot allow themselves to be overly discouraged.
Reading about Transformative Justice, I very much recognize the description of a certain very specific kind of frustration, of a process where sometimes it “simply doesn’t work,” from my long history of making collaborative performances. In Transformative Justice movements they are working toward a world without police and without prisons. A great deal of the time I don’t entirely know what I’m working toward. Just to be a different kind of artist, to collaboratively make one really good show, not to worry so much about pushing my name. My name is at the top of the first page of this text. I could have tried to write it collaboratively with someone, but I don’t actually have anyone in my life I’m able to do that with. (Once again, the chasm between theory and practice.) Perhaps it’s about belief. And perhaps it’s about compromise. And perhaps it’s about loneliness.
What is an artistically productive compromise? What does it look and feel like? I still don’t really know. But I do know that I absolutely don’t want it to be about sanding down your personality or your desires to suit the needs of the group. I am hoping for strong individual personalities that together search for, and hopefully often discover, a multitude of different ways to effectively work together. And find equally useful ways to manage the many conflicts that arise along the way. I don’t need to be less of myself in order to connect with your point of view. A compromise is not that I have to completely give something up, but rather that I come to see the value, in the moment, of doing something differently.
When I put my name on the cover of a book, I also think of it as being in dialog with all the other books that have been written, one node in the interrelated web of books. As Italo Calvino writes: “Literature – even though people usually study it author by author – is always a dialog amongst many voices which intersect and reply to each other within literature and outside it.” I have often written about how I live a double life, one half spent writing novels, the other half spent making collaborative performances. Books are the activity I do (mostly) alone and performances are the activity I do with other people. I find writing books much, much easier than making collaborative performances. So often I find myself wondering if, for this reason, I should give up making performances and only write books. There is much about me that fits the cliché of the melancholy writer, the dandy, the flâneur, wandering alone amongst the city within my melancholy thoughts which I will later write down in an attempt to communicate something that goes far beyond my own narrow experience.
I’m not sure what kinds of personalities are most and least suited for working collaboratively but, if I were to make a list, the melancholy flâneur probably would rank rather high in the least suited column. And this must be yet another reason I do it, somehow going against my nature, trying to open up a world, the world of my own thoughts, that always suggests the best thing to do would be to shut everything down. The desire for artistic collaboration, at least for me, is a desire to find a third way between solitude and community, and it is less important that this third way actually exist then that I manage to keep alive the search for it. In this sense it truly is an impossible dramaturgy.
But it is not just a struggle within my thoughts. It is something I actually do with other people. Each time we start again we cannot fully rely on the maps we’ve made in the past. We have to concretely deal with the task at hand, in the moment, deciding from moment to moment when to fight and when to compromise, what aspects of the work are most important to us, what we think we are making and why, and how might it be possible for us to make it better together than any of us might be able to make it alone.
*
[As well, as some of you might already know, Individualism Was a Mistake is also the title of a performance PME-ART made in 2008.]
.
March 5, 2025
18 performing arts organizations across Canada stand in solidarity with Palestine!
18 performing arts organizations across Canada (including PME-ART) stand in solidarity with Palestine! This group endorsement was organized by Theatre Artists for Palestinian Voices’ PACBI working group. TAPV is a coalition of Palestinian, Indigenous, Jewish and allied artists and arts workers committed to bringing a diversity of Palestinian voices to our stages, and to ongoing Indigenous land struggles against settler colonialism from Turtle Island to historic Palestine. To learn more about PACBI, endorse the call with your organization, or join us in advocating for PACBI in the Canadian performing arts sector and beyond, email: theatre4palestinianvoices@gmail.com
The organizations are: Alma Theatre (Edmonton), Aluna Theatre (Toronto), The Black Pledge Canada (Toronto), Buddies in Bad Times Theatre (Toronto), The Bus Stop Theatre (Halifax), Enable Arts Society (Vancouver), Generator (Toronto), manidoons collective (Toronto), MT Space Theatre (Kitchener-Waterloo), New Harlem Productions (Hamilton), Paprika Festival (Toronto), The Theatre Centre (Toronto), PME-ART (Montreal), rookies with friends (Toronto), Rumble Theatre (Vancouver), Shakespeare in the Ruff (Toronto), Teesri Duniya (Montreal), We Quit Theatre (Winnipeg).
The organizations are: Alma Theatre (Edmonton), Aluna Theatre (Toronto), The Black Pledge Canada (Toronto), Buddies in Bad Times Theatre (Toronto), The Bus Stop Theatre (Halifax), Enable Arts Society (Vancouver), Generator (Toronto), manidoons collective (Toronto), MT Space Theatre (Kitchener-Waterloo), New Harlem Productions (Hamilton), Paprika Festival (Toronto), The Theatre Centre (Toronto), PME-ART (Montreal), rookies with friends (Toronto), Rumble Theatre (Vancouver), Shakespeare in the Ruff (Toronto), Teesri Duniya (Montreal), We Quit Theatre (Winnipeg).
February 18, 2025
Onze organisations culturelles de Montréal ont officiellement endossé PACBI
Dans une forte déclaration de solidarité, onze organisations culturelles de Montréal ont officiellement endossé la Campagne palestinienne pour le boycott académique et culturel d'Israël (PACBI), soulignant ainsi leur engagement envers le mouvement mondial de Boycott, Désinvestissement et Sanctions (BDS).
Les organisations qui soutiennent cette initiative se joignent à un mouvement mondial croissant d'artistes, d'universitaires et de travailleur·euse·s culturel·le·s qui s'engagent à soutenir le peuple palestinien dans sa lutte pour la libération et l'autodétermination. Ces organisations espèrent que plus d'organismes voudront adopter PACBI partout au Québec et au Canada.
À ce jour, les organisations suivantes ont unies leurs forces pour appuyer ou réaffirmer leurs engagements à PACBI: Ada X, articule, Atelier La Coulée, Céline Bureau, Centre Clark, Centre des arts actuels SKOL, Dazibao, Metonymy Press, OBORO, PME-ART et Vidéographe.
Pour en savoir plus sur le PACBI, consultez https://www.bdsmovement.net/pacbi
_________________
In a strong statement of solidarity, eleven cultural organizations in Montreal have officially endorsed the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), highlighting their commitment to the global Boycott, Divestment, and Sanctions (BDS) movement.
The organizations supporting this initiative are joining a growing global movement of artists, academics, and cultural workers committed to supporting the Palestinian people in their struggle for liberation and self-determination. These organizations hope that more groups will adopt PACBI across Quebec and Canada.
To date, the following organizations have united their efforts to support or reaffirm their commitments to PACBI: Ada X, articule, Atelier La Coulée, Céline Bureau, Centre Clark, Centre des arts actuels SKOL, Dazibao, Metonymy Press, Oboro, PME-ART and Vidéographe.
To learn more about PACBI, see https://www.bdsmovement.net/pacbi
Les organisations qui soutiennent cette initiative se joignent à un mouvement mondial croissant d'artistes, d'universitaires et de travailleur·euse·s culturel·le·s qui s'engagent à soutenir le peuple palestinien dans sa lutte pour la libération et l'autodétermination. Ces organisations espèrent que plus d'organismes voudront adopter PACBI partout au Québec et au Canada.
À ce jour, les organisations suivantes ont unies leurs forces pour appuyer ou réaffirmer leurs engagements à PACBI: Ada X, articule, Atelier La Coulée, Céline Bureau, Centre Clark, Centre des arts actuels SKOL, Dazibao, Metonymy Press, OBORO, PME-ART et Vidéographe.
Pour en savoir plus sur le PACBI, consultez https://www.bdsmovement.net/pacbi
_________________
In a strong statement of solidarity, eleven cultural organizations in Montreal have officially endorsed the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), highlighting their commitment to the global Boycott, Divestment, and Sanctions (BDS) movement.
The organizations supporting this initiative are joining a growing global movement of artists, academics, and cultural workers committed to supporting the Palestinian people in their struggle for liberation and self-determination. These organizations hope that more groups will adopt PACBI across Quebec and Canada.
To date, the following organizations have united their efforts to support or reaffirm their commitments to PACBI: Ada X, articule, Atelier La Coulée, Céline Bureau, Centre Clark, Centre des arts actuels SKOL, Dazibao, Metonymy Press, Oboro, PME-ART and Vidéographe.
To learn more about PACBI, see https://www.bdsmovement.net/pacbi
February 11, 2025
For years...
.
For years I couldn’t stop writing about the oncoming fascism and then the fascism was here and I couldn’t seem to write about it anymore.
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For years I couldn’t stop writing about the oncoming fascism and then the fascism was here and I couldn’t seem to write about it anymore.
.
February 5, 2025
Five epigraphs for One Yes & Many Know
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So I started writing a novel about an artist who tries to sell out. Then I realized it was a mistake to drop the novel I was already writing, when I was in the middle of it (and it had been going well.) So I went back to writing my novel about an unbeliever who attempts to find god and realizes that the true name of god is treason. Which will be, when I finish it, the final part of some kind of trilogy based loosely around the desire for utopia, a trilogy that has already begun with the publication of Dry Your Tears to Perfect Your Aim this past September. But back to the topic of trying to sell out. I wrote one chapter and a bit of that idea before setting it aside (for now.) And also compiled a page of epigraphs which you will find below.
*
At the age of forty the life I have lived so far, always pro tem, has for the first time become life itself, and this reappraisal swept away all dreams, destroyed all my notions that real life, the one that was meant to be, the great deeds I would perform, was somewhere else. I realised it was all here, banal everyday life, fully formed, and it always would be unless I did something. Unless I took one last gamble.
– Karl Ove Knausgaard, My Struggle, Vol. 2 (A Man in Love)
I had an unhealthy respect for the artist who sells out. Not everyone can sell out, even if they want to. Over the years, I have noticed that the strength of singers like Adam Ant and Billy Idol was their ability to sell their asses and still appear to be doing precisely what they wanted.
– Julian Cope, Repossessed
I hushed it, heard my conscience in a clear voice
“Don’t forsake us to make this a career choice”
– Ka, 30 Keys
Work your ass off to change the language & dont ever get famous.
– Bernadette Mayer, Experiments
Success is the ethical quagmire par excellence of commodity culture because it jeopardizes our relation to dissent, to resistance, to saying no, as fame is precisely about what one is willing to do, how far one is willing to go, and how much (low in the form of high. Going low in order to get high) one is willing to say yes to. The road to fame is made up of assent. This is what gets you to the literal and figurative top. And this is why fame is almost always a parable about losing (not finding one’s way). About being led astray. “Making it” is not the struggle to become, as it’s always been said, but the willingness to be made.
– Masha Tupitsyn, Becoming Object
.
So I started writing a novel about an artist who tries to sell out. Then I realized it was a mistake to drop the novel I was already writing, when I was in the middle of it (and it had been going well.) So I went back to writing my novel about an unbeliever who attempts to find god and realizes that the true name of god is treason. Which will be, when I finish it, the final part of some kind of trilogy based loosely around the desire for utopia, a trilogy that has already begun with the publication of Dry Your Tears to Perfect Your Aim this past September. But back to the topic of trying to sell out. I wrote one chapter and a bit of that idea before setting it aside (for now.) And also compiled a page of epigraphs which you will find below.
*
At the age of forty the life I have lived so far, always pro tem, has for the first time become life itself, and this reappraisal swept away all dreams, destroyed all my notions that real life, the one that was meant to be, the great deeds I would perform, was somewhere else. I realised it was all here, banal everyday life, fully formed, and it always would be unless I did something. Unless I took one last gamble.
– Karl Ove Knausgaard, My Struggle, Vol. 2 (A Man in Love)
I had an unhealthy respect for the artist who sells out. Not everyone can sell out, even if they want to. Over the years, I have noticed that the strength of singers like Adam Ant and Billy Idol was their ability to sell their asses and still appear to be doing precisely what they wanted.
– Julian Cope, Repossessed
I hushed it, heard my conscience in a clear voice
“Don’t forsake us to make this a career choice”
– Ka, 30 Keys
Work your ass off to change the language & dont ever get famous.
– Bernadette Mayer, Experiments
Success is the ethical quagmire par excellence of commodity culture because it jeopardizes our relation to dissent, to resistance, to saying no, as fame is precisely about what one is willing to do, how far one is willing to go, and how much (low in the form of high. Going low in order to get high) one is willing to say yes to. The road to fame is made up of assent. This is what gets you to the literal and figurative top. And this is why fame is almost always a parable about losing (not finding one’s way). About being led astray. “Making it” is not the struggle to become, as it’s always been said, but the willingness to be made.
– Masha Tupitsyn, Becoming Object
.