May 23, 2023
A project in continuum with The Fall
I have so much to say about this record that I don’t even know where to begin.
Made by members of The Fall who, over the years, Mark E. Smith fired or who quit due to his erratic and abusive behavior. Made by many of the musical architects of the classic Fall sound. And now that Mark E. Smith is gone they come together and make a record in continuum with the work of The Fall that’s almost as good as any Fall record and, for this reason, in some ways all that much better.
Revenge is a dish best served cold. Living well is the best revenge.
How to take past resentments and turn them into gold. How to have a final, unexpected fourth act that turns everything on its head.
For some reason listening to this record gives me some small hope for my artistic future. (Even though I’m probably Mark E. Smith in this story, so the hope comes after I die.)
https://houseofall.bandcamp.com/album/house-of-all
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Labels:
HOUSE Of ALL,
The Fall
May 13, 2023
Three videos from The Air Contains Honey
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“We shall define sexuality as that which can’t be satisfied and therefore as that which transforms the person.”
– Kathy Acker, Great Expectations
“I adore everything I don’t understand.”
– Angela Lopes, Bridge Retakes
“In my best moments I think ‘life has passed me by,’ and I’m content.”
– Agnes Martin
The Air Contains Honey is an “orchestra” that mixes professional and amateur musicians in search of a warmth and community spirit they may or may not find. All of their songs follow the same basic structure: a quote sung four times, an instrumental break, and then the same quote sung another four times. For the audience, as well as for the performers, this is a chance to hear an orchestra in the process of discovering its sound as it goes.
In these three videos The Air Contains Honey is: Patrick Conan, Thanya Iyer, Adam Kinner, Liam O'Neill, Lara Oundjian, Pompey, Stephen Quinlan, Rebecca Rehder, Catherine Fatima, Frédérique Roy, Mulu Tesfu, Jacob Wren.
Image and editing by Nina Vroemen
Out debut album The Air Contains Honey Sings Quotes is out now.
For more information, as it becomes available, you can find The Air Contains Honey Facebook page here.
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“We shall define sexuality as that which can’t be satisfied and therefore as that which transforms the person.”
– Kathy Acker, Great Expectations
The Air Contains Honey - Sexuality
“I adore everything I don’t understand.”
– Angela Lopes, Bridge Retakes
The Air Contains Honey - Everything
“In my best moments I think ‘life has passed me by,’ and I’m content.”
– Agnes Martin
The Air Contains Honey - Best Moments
The Air Contains Honey is an “orchestra” that mixes professional and amateur musicians in search of a warmth and community spirit they may or may not find. All of their songs follow the same basic structure: a quote sung four times, an instrumental break, and then the same quote sung another four times. For the audience, as well as for the performers, this is a chance to hear an orchestra in the process of discovering its sound as it goes.
In these three videos The Air Contains Honey is: Patrick Conan, Thanya Iyer, Adam Kinner, Liam O'Neill, Lara Oundjian, Pompey, Stephen Quinlan, Rebecca Rehder, Catherine Fatima, Frédérique Roy, Mulu Tesfu, Jacob Wren.
Image and editing by Nina Vroemen
Out debut album The Air Contains Honey Sings Quotes is out now.
For more information, as it becomes available, you can find The Air Contains Honey Facebook page here.
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Labels:
The Air Contains Honey
May 11, 2023
Diachroneity Books: "What we want: Oddness. Stream of consciousness. Weird, but beautiful. Genre, but literary. Just a liiiiittle left of centre."
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Diachroneity Books seeks novels, short story collections, novels-in-flash, encyclopedias (lol), and fresh translations of the above. Currently, we’re working with prose only (no poetry (◕︵◕)).
Right now, we’re focusing on digital release.
What we want: Oddness. Stream of consciousness. Weird, but beautiful. Genre, but literary. Just a liiiiittle left of centre. Biting humour, biting commentary, and biting humour-as-commentary. Eighteen layers of sorta confusing metaphor. Make us (and you) feel uncomfortable, unsettled, unsure. Or astound us. Ideally both.
If you think other places would publish your manuscript and sell mad stacks, it’s probably not for Diachro.
What we don’t want: The mainstream. -isms or -phobias. Easy reading. Cool kids.
If you’ve been knocked back for being “too much,” hi.
Also, we aim to be, like, nice and thoughtful and understanding human beings. So if we’re thinking about doing this thing together (i.e., literary birthing), we kindly request that you be nice and thoughtful and understanding too.
Teamwork makes the dreamwork, y’know?
More information here: https://diachroneitybooks.com/SUBMIT
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Diachroneity Books seeks novels, short story collections, novels-in-flash, encyclopedias (lol), and fresh translations of the above. Currently, we’re working with prose only (no poetry (◕︵◕)).
Right now, we’re focusing on digital release.
What we want: Oddness. Stream of consciousness. Weird, but beautiful. Genre, but literary. Just a liiiiittle left of centre. Biting humour, biting commentary, and biting humour-as-commentary. Eighteen layers of sorta confusing metaphor. Make us (and you) feel uncomfortable, unsettled, unsure. Or astound us. Ideally both.
If you think other places would publish your manuscript and sell mad stacks, it’s probably not for Diachro.
What we don’t want: The mainstream. -isms or -phobias. Easy reading. Cool kids.
If you’ve been knocked back for being “too much,” hi.
Also, we aim to be, like, nice and thoughtful and understanding human beings. So if we’re thinking about doing this thing together (i.e., literary birthing), we kindly request that you be nice and thoughtful and understanding too.
Teamwork makes the dreamwork, y’know?
More information here: https://diachroneitybooks.com/SUBMIT
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May 6, 2023
Some passages from Ordinary Notes by Christina Sharpe
Some passages from Ordinary Notes by Christina Sharpe:
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“I want to tell how sorrow makes a shape that is familiar. And how that familiar thing can be difficult both to name and to narrate.”
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“There is a certain mode of reading connected to a tradition of colonial practices in which every book by any Black writer appears as sociology. Then all of that book’s explorations, its meanings, and its ambitions lodge in a place called identity. This often-white reading either does this directly, as in, in this book about identity… or indirectly, by way of excepting a particular Black writer from this dreaded trap by writing that they “bravely” eschew identity. The reviewer might then draw a comparison between that Black writer and Sebald and imagine this a compliment of the highest order. Or the reviewer might make clear that the Black writer in question is not-one-of-those-Black-writers who center their work in the abundance of Black life.
These readers and reviewers are stuck on something they call identity and not something called life or genre or craft or intertextuality or invention or literary tradition.
These readers continually misread the note. They decant all complexity, all invention into that thing they name identity that they imagine is both not complex and not relevant to them.”
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“Abolition is one manifestation and key call of this time of Black liberation; it extends our understanding of the ways that the states we live in have consolidated the carceral and it imagines and enacts other ways of living.
Abolition is one manifestation and a key call of this epoch of Black liberation. It refuses the logics of property. It refuses the ways that the states we live in and the mechanisms of those states in this moment have consolidated the carceral. It joins and elaborates and imagines other ways of being together and in relation, other ways of enacting care for human and nonhuman life.
Ruth Wilson Gilmore and Mariame Kaba remind us that abolition is both tearing things down and remaking: more than anything else, Gilmore says, it is about presence, not absence.
Abolition is remaking our vocabularies. Abolition is another word for love.”
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“Care is complicated, gendered, misused. It is often mobilized to enact violence, not assuage it, yet I cannot surrender it.
I want acts and accounts of care as shared and distributed risk, as mass refusals of the unbearable life, as total rejections of the dead future.”
*
*
“I want to tell how sorrow makes a shape that is familiar. And how that familiar thing can be difficult both to name and to narrate.”
*
“There is a certain mode of reading connected to a tradition of colonial practices in which every book by any Black writer appears as sociology. Then all of that book’s explorations, its meanings, and its ambitions lodge in a place called identity. This often-white reading either does this directly, as in, in this book about identity… or indirectly, by way of excepting a particular Black writer from this dreaded trap by writing that they “bravely” eschew identity. The reviewer might then draw a comparison between that Black writer and Sebald and imagine this a compliment of the highest order. Or the reviewer might make clear that the Black writer in question is not-one-of-those-Black-writers who center their work in the abundance of Black life.
These readers and reviewers are stuck on something they call identity and not something called life or genre or craft or intertextuality or invention or literary tradition.
These readers continually misread the note. They decant all complexity, all invention into that thing they name identity that they imagine is both not complex and not relevant to them.”
*
“Abolition is one manifestation and key call of this time of Black liberation; it extends our understanding of the ways that the states we live in have consolidated the carceral and it imagines and enacts other ways of living.
Abolition is one manifestation and a key call of this epoch of Black liberation. It refuses the logics of property. It refuses the ways that the states we live in and the mechanisms of those states in this moment have consolidated the carceral. It joins and elaborates and imagines other ways of being together and in relation, other ways of enacting care for human and nonhuman life.
Ruth Wilson Gilmore and Mariame Kaba remind us that abolition is both tearing things down and remaking: more than anything else, Gilmore says, it is about presence, not absence.
Abolition is remaking our vocabularies. Abolition is another word for love.”
*
“Care is complicated, gendered, misused. It is often mobilized to enact violence, not assuage it, yet I cannot surrender it.
I want acts and accounts of care as shared and distributed risk, as mass refusals of the unbearable life, as total rejections of the dead future.”
*
Labels:
Christina Sharpe,
Quotes,
Some passages from
April 17, 2023
Six sentences concerning art and jealousy
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Jealousy of other artists is perhaps the most natural part of being an artist.
Artists should have honest discussions about ambition (and about money.)
Being an artist is often about the feeling that other artists are getting something that you’re not.
The difference between how I feel jealous of an artist whose work is better than mine and how I feel jealous of an artist whose work is more successful than mine.
The purpose of an artistic star system is to undermine solidarity.
There are no individual solutions to collective problems.
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Jealousy of other artists is perhaps the most natural part of being an artist.
Artists should have honest discussions about ambition (and about money.)
Being an artist is often about the feeling that other artists are getting something that you’re not.
The difference between how I feel jealous of an artist whose work is better than mine and how I feel jealous of an artist whose work is more successful than mine.
The purpose of an artistic star system is to undermine solidarity.
There are no individual solutions to collective problems.
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Labels:
A poem by Jacob Wren,
Artistic Jealousy,
Jealousy
April 2, 2023
My apartment is just piles of books
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The video recording of My apartment is just piles of books was online only until April 30th, 2023 and therefore is no longer available.
"In this online performance, Jacob Wren reflects on the fact that he used to travel constantly for art and yet during the pandemic spent more time in his apartment than ever before. And the travel has not yet resumed. Through a short tour of his bookshelf, questions are raised about what it means to make art when you find yourself no longer in constant motion."
However, you can still watch the conversation between Anyse Ducharme and Jacob Wren as part of the Virtual Encounters series: https://vimeo.com/815412881
Presented by LOMAA.
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The video recording of My apartment is just piles of books was online only until April 30th, 2023 and therefore is no longer available.
"In this online performance, Jacob Wren reflects on the fact that he used to travel constantly for art and yet during the pandemic spent more time in his apartment than ever before. And the travel has not yet resumed. Through a short tour of his bookshelf, questions are raised about what it means to make art when you find yourself no longer in constant motion."
However, you can still watch the conversation between Anyse Ducharme and Jacob Wren as part of the Virtual Encounters series: https://vimeo.com/815412881
Presented by LOMAA.
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March 29, 2023
99,430 words
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When you finish a first draft of a book, do a word count, and learn that the manuscript is 99,430 words long.
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When you finish a first draft of a book, do a word count, and learn that the manuscript is 99,430 words long.
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March 17, 2023
How many times have I gone online and posted a paragraph entitled “possible opening for a new novel?”
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How many times have I gone online and posted a paragraph entitled “possible opening for a new novel?” That feeling of starting something new, starting over. The feeling or idea that it’s possible to start from scratch, a feeling most easily obtained in the land of fiction. The fiction that it’s possible to start again. Everything comes from somewhere, nothing is pure invention. The beginning of a new work is the beginning of a new day. And yesterday was also once a new day. Wondering if I should leave but no idea where to go.
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How many times have I gone online and posted a paragraph entitled “possible opening for a new novel?” That feeling of starting something new, starting over. The feeling or idea that it’s possible to start from scratch, a feeling most easily obtained in the land of fiction. The fiction that it’s possible to start again. Everything comes from somewhere, nothing is pure invention. The beginning of a new work is the beginning of a new day. And yesterday was also once a new day. Wondering if I should leave but no idea where to go.
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Labels:
A poem by Jacob Wren
March 15, 2023
Can an art of collective struggle really be made by an individual artist?
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Can an art of collective struggle really be made by an individual artist? My secret, if I have one, is that I honestly hate being alive. What is your secret? What is the secret of some larger collectivity? A secret shared by everyone, a secret that everyone can work toward together? But of course not exactly everyone, just those within a certain specific circle of solidarity. What secret might be large enough to hold this solidarity together? My secret, if I have one, is that I can endlessly write about how miserable I am, but most often choose not to. Some other people are as miserable but, for the most part, most other people don’t seem to be. Illusions.
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Can an art of collective struggle really be made by an individual artist? My secret, if I have one, is that I honestly hate being alive. What is your secret? What is the secret of some larger collectivity? A secret shared by everyone, a secret that everyone can work toward together? But of course not exactly everyone, just those within a certain specific circle of solidarity. What secret might be large enough to hold this solidarity together? My secret, if I have one, is that I can endlessly write about how miserable I am, but most often choose not to. Some other people are as miserable but, for the most part, most other people don’t seem to be. Illusions.
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Labels:
A poem by Jacob Wren
February 20, 2023
There is a genre of scene I believe I had read several times in a certain kind of nonfiction book...
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There is a genre of scene I believe I have read several times in a certain kind of nonfiction book. In this type of scene, the author of the book shows an earlier draft of said book – the very book you are holding in your hands – to a character in the book, or more precisely to a person in the author’s life upon whom one of the characters is based. And this person reacts extremely badly to the manner in which they’ve been portrayed. Which creates a sort of ethical dilemma on the part of the author. Do they remove this character from their book? Or rewrite the character in order to make it more to the liking of the person on whom it is based? Or fictionalize the character even further so as to make it unrecognizable? I have seen different author’s deal with this dilemma in different ways, and it always strikes me as somehow getting to the very heart of the ethical problem of the relationship between fiction and reality.
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There is a genre of scene I believe I have read several times in a certain kind of nonfiction book. In this type of scene, the author of the book shows an earlier draft of said book – the very book you are holding in your hands – to a character in the book, or more precisely to a person in the author’s life upon whom one of the characters is based. And this person reacts extremely badly to the manner in which they’ve been portrayed. Which creates a sort of ethical dilemma on the part of the author. Do they remove this character from their book? Or rewrite the character in order to make it more to the liking of the person on whom it is based? Or fictionalize the character even further so as to make it unrecognizable? I have seen different author’s deal with this dilemma in different ways, and it always strikes me as somehow getting to the very heart of the ethical problem of the relationship between fiction and reality.
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Labels:
A poem by Jacob Wren
February 17, 2023
And things started to happen, but none of them were the things we said were going to happen...
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And things started to happen, but none of them were the things we said were going to happen, and none of them were the things anyone else expected either. But at least something had begun. Or so we thought. Were we willing to classify whatever it was that seemed to be happening as “something”? We had no choice: we couldn’t go back and the only way forward was to go with what was happening. What was starting. What we thought. It had something to do with the way one thing followed the next. If we didn’t intervene. All we had done is open the door. It was exhausting.
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And things started to happen, but none of them were the things we said were going to happen, and none of them were the things anyone else expected either. But at least something had begun. Or so we thought. Were we willing to classify whatever it was that seemed to be happening as “something”? We had no choice: we couldn’t go back and the only way forward was to go with what was happening. What was starting. What we thought. It had something to do with the way one thing followed the next. If we didn’t intervene. All we had done is open the door. It was exhausting.
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Labels:
A poem by Jacob Wren
February 13, 2023
Virtual Coffee Chat with Jacob Wren and Julia Lee Barclay-Morton
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On Wednesday, Feb. 15 at 5pm EST I will be having a Virtual Coffee Chat with Julia Lee Barclay-Morton about her book The Mortality Shot and my book Polyamorous Love Song. Discussing what we share as authors: the crossover between words for performance and for the page and not falling neatly into categories.
The event is online and free but you have to register for it here.
If you haven't already you should definitely check out The Mortality Shot. This is what I had to say about it:
"These stories and essays (plus a stage text) push up against heartfelt questions of life and death in ways that are complex, counter-intuitive, humorous and striking. Writing against the grain, in varying styles and intensities, The Morality Shot goes places that so much current literature wouldn’t dare, demonstrating that real writing is always a risk and a gamble, and that only through taking such risks can we get at the things which truly matter."
And, if you missed it, the Virtual Author Coffee Chat is now online and you can watch it here:
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On Wednesday, Feb. 15 at 5pm EST I will be having a Virtual Coffee Chat with Julia Lee Barclay-Morton about her book The Mortality Shot and my book Polyamorous Love Song. Discussing what we share as authors: the crossover between words for performance and for the page and not falling neatly into categories.
The event is online and free but you have to register for it here.
If you haven't already you should definitely check out The Mortality Shot. This is what I had to say about it:
"These stories and essays (plus a stage text) push up against heartfelt questions of life and death in ways that are complex, counter-intuitive, humorous and striking. Writing against the grain, in varying styles and intensities, The Morality Shot goes places that so much current literature wouldn’t dare, demonstrating that real writing is always a risk and a gamble, and that only through taking such risks can we get at the things which truly matter."
And, if you missed it, the Virtual Author Coffee Chat is now online and you can watch it here:
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February 10, 2023
My life is entangled in theatre but I now know almost no one else who works in theatre...
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My life is entangled in theatre but I now know almost no one else who works in theatre. It is like a place I have almost completely left as that place continues to almost completely rule my inner life. Be careful what you decide to be against. I find myself feeling like I’m stuck in a tunnel of things I don’t want to do. But what exactly is the tunnel? An inability to usefully think what other sorts of things I could be doing. Doing things in reaction to what I’ve previously done, rather than thinking toward what might interest me in the future. This has something to do with the idea of a diary.
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My life is entangled in theatre but I now know almost no one else who works in theatre. It is like a place I have almost completely left as that place continues to almost completely rule my inner life. Be careful what you decide to be against. I find myself feeling like I’m stuck in a tunnel of things I don’t want to do. But what exactly is the tunnel? An inability to usefully think what other sorts of things I could be doing. Doing things in reaction to what I’ve previously done, rather than thinking toward what might interest me in the future. This has something to do with the idea of a diary.
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Labels:
A poem by Jacob Wren,
Theatre
February 8, 2023
They warned me the soup was extremely hot and I might burn myself...
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They warned me the soup was extremely hot and I might burn myself. I didn’t heed the warning and did indeed burn myself. I couldn’t say that I hadn’t been warned. I retaliated by writing the experience down, an account you are currently reading. A rather boring and predictable account. It has happened before and will happen again.
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They warned me the soup was extremely hot and I might burn myself. I didn’t heed the warning and did indeed burn myself. I couldn’t say that I hadn’t been warned. I retaliated by writing the experience down, an account you are currently reading. A rather boring and predictable account. It has happened before and will happen again.
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Labels:
A poem by Jacob Wren
January 31, 2023
To not start from a theme but from an activity...
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To not start from a theme but from an activity. A theme can lead anywhere. An activity can also lead anywhere but not quite in the same way. How open is a theme? How open an activity? Can it all be thought of as some kind of music? The question of how to start and the question of where you’re going seem to be the same question. Where to start? Where are we going? Most people aren’t dancing but there is one person in the audience who is absolutely dancing their face off. Is that person a stand in for the thing we’re searching for? Never a good idea to use anyone as a stand in for something else. The very best thing about that dancing person is they are not doing it for anyone but themselves. To start not from a theme but an activity. I know what I’m addicted to but what is it exactly I’m addicted to? What is the exact thing, the exact moment.
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To not start from a theme but from an activity. A theme can lead anywhere. An activity can also lead anywhere but not quite in the same way. How open is a theme? How open an activity? Can it all be thought of as some kind of music? The question of how to start and the question of where you’re going seem to be the same question. Where to start? Where are we going? Most people aren’t dancing but there is one person in the audience who is absolutely dancing their face off. Is that person a stand in for the thing we’re searching for? Never a good idea to use anyone as a stand in for something else. The very best thing about that dancing person is they are not doing it for anyone but themselves. To start not from a theme but an activity. I know what I’m addicted to but what is it exactly I’m addicted to? What is the exact thing, the exact moment.
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Labels:
A poem by Jacob Wren
January 21, 2023
A photo of three of my books
“On a social level, people have to look after each other, but on an ethical level, each of us has to look after ourselves. If you are a billionaire it is because you have done evil in the world. You have exploited and caused untold misery. You have bent laws and governments to your will. I don’t want to shoot him. I want to strangle him with piano wire. I don’t want to escape. I want to be caught and explain my idea to the world. I want to be executed. I now have nothing to lose. We will all be forgotten. But if ten of us manage to kill billionaires those ten will be remembered forever. Our poverty will become history. Wealth is impersonal but we will make it personal again.”
― Jacob Wren, Rich and Poor
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“If I’m the enemy then really let me have it. If moral outrage about the state of the world is consuming your life, paralyzing you, taking over your world, then set fire to the reader in an act of revenge. Instead you leave the reader, or this reader at least, indifferent, watching your ineffective life unravel ineffectually. If our wealth is criminal then let’s live with the criminal joy of pirates or fight to the death to bring a sliver more of justice into being. Not the passive slither forward you are attempting to pass off as literature.”
― Jacob Wren, If our wealth is criminal then let’s live with the criminal joy of pirates
*
“The most effective lie is always the closest to the truth. The closer the better. A dream is not true but is never a lie. There are various approaches for understanding dreams: as evidence of some deeper psychological truth, as alternate realities, as subtle yet surreal mental reprocessings of our daily lives, as experiences equally valid to those had while awake. Due to the acuity of their strangeness, dreams practically call out for interpretation. However, since we don’t accurately know what consciousness is, since we don’t know precisely what or how we experience being awake, why would we be able to know what happens when we dream? There are also various approaches one might use for understanding a lie. But one aspect generally agreed upon is that to tell the complete truth, and only the complete truth, at all times, is a disaster. There are different ways of being honest.”
― Jacob Wren, Polyamorous Love Song
*
Photo by Khashayar Mohammadi
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Gundega Laiviņa Quote
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Actually, I am for going. Yet I have to question again and again – who goes, how and why. I am for a different kind of going than the conventional touring routine: taxi, plane, hotel, venue, hotel, plane, taxi… I am for going slowly, going with care, going to stay, explore, connect, going to create conditions for the artwork to live longer, not going, going with dignity, letting someone else go. What are alternatives to travel fatigue – a condition discussed frequently within the “bubble” of Western theatre makers? To stop and find well-articulated reasons for not travelling anymore as we are privileged to do so? But we could as well give chance to new approaches to emerge, we could keep exploring and connecting things, places, people and ideas without necessarily going or – if going – then differently.
- Gundega Laiviņa, as cited in Showing Without Going: Interview with Ant Hampton
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Actually, I am for going. Yet I have to question again and again – who goes, how and why. I am for a different kind of going than the conventional touring routine: taxi, plane, hotel, venue, hotel, plane, taxi… I am for going slowly, going with care, going to stay, explore, connect, going to create conditions for the artwork to live longer, not going, going with dignity, letting someone else go. What are alternatives to travel fatigue – a condition discussed frequently within the “bubble” of Western theatre makers? To stop and find well-articulated reasons for not travelling anymore as we are privileged to do so? But we could as well give chance to new approaches to emerge, we could keep exploring and connecting things, places, people and ideas without necessarily going or – if going – then differently.
- Gundega Laiviņa, as cited in Showing Without Going: Interview with Ant Hampton
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Labels:
Gundega Laiviņa,
Quotes
January 19, 2023
Samson Young's Goodreads Review of Authenticity is a Feeling
It somehow caught me at exactly the right moment to read Samson Young's Goodreads Review of Authenticity is a Feeling:
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This is a beautiful and thoughtful book about being fully yourself in collaborative work. This is not a guide book, nor does it have very many nice to say about collaboration, actually; rather, it shows just how truly scary, complicated, difficult and humiliating a true collaboration could be.
It is also a book about generosity, persistence and courage. Wren and his collaborators are rough with each other on stage. Yet Wren's retelling of these moments of public-private confrontation are so gentle, observant, poetic, and full of love. So many moments in the book made me feel so uncomfortable. And I wondered: isn't Wren just romanticizing his own very specific, and very public brand of hedgehog personality complex? Is authentic theatre and authentic life for him some sort of torture chamber, where all involved are so relentlessly committed to calling each other's BSs that nobody is ever going to be real enough? (He asked this question himself at one point in the book).
The big take away for me though is that being authentic and truly collaborative expands the dynamic platter of life and of art by many, many fold. Insofar as a fuller range of dynamics is always a positive value in art, then one would be tempted to argue that collaboration makes for better art. For Wren and his collaborators, this is also a better way to live. People of a weaker constitution however might prefer to keep the world at arms-length.
Wren is a highly gifted and extremely generous storyteller. Highly recommended.
*
You can find the review here. And of course you can find Authenticity is a Feeling here.
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*
This is a beautiful and thoughtful book about being fully yourself in collaborative work. This is not a guide book, nor does it have very many nice to say about collaboration, actually; rather, it shows just how truly scary, complicated, difficult and humiliating a true collaboration could be.
It is also a book about generosity, persistence and courage. Wren and his collaborators are rough with each other on stage. Yet Wren's retelling of these moments of public-private confrontation are so gentle, observant, poetic, and full of love. So many moments in the book made me feel so uncomfortable. And I wondered: isn't Wren just romanticizing his own very specific, and very public brand of hedgehog personality complex? Is authentic theatre and authentic life for him some sort of torture chamber, where all involved are so relentlessly committed to calling each other's BSs that nobody is ever going to be real enough? (He asked this question himself at one point in the book).
The big take away for me though is that being authentic and truly collaborative expands the dynamic platter of life and of art by many, many fold. Insofar as a fuller range of dynamics is always a positive value in art, then one would be tempted to argue that collaboration makes for better art. For Wren and his collaborators, this is also a better way to live. People of a weaker constitution however might prefer to keep the world at arms-length.
Wren is a highly gifted and extremely generous storyteller. Highly recommended.
*
You can find the review here. And of course you can find Authenticity is a Feeling here.
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Labels:
Authenticity is a Feeling,
PME-ART,
Samson Young
January 18, 2023
Some passages from What Love Looks Like
Some passages from What Love Looks Like: A Conversation with Tim DeChristopher by Terry Tempest Williams:
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TERRY TEMPEST WILLIAMS: A while back I was reading Albert Schweitzer’s book on historical Jesus. Do you see Jesus as a historical figure in terms of leadership?
TIM DECHRISTOPHER: Yeah, I do view him as an example of a revolutionary leader.
TERRY: How?
TIM: Well, he was saying very challenging things both to the people who were following him and to the dominant culture at the time. And it led to some radical changes in the way people were living and the way people were structuring society.
TERRY: What would you view as the most radical of his teachings?
TIM: Turning the other cheek, I think, is one extremely radical thing. That, I think, is his powerful message about civil disobedience. And the other, which might be even more radical, is letting go of material wealth. That’s so radical that Christians today still can’t talk about it. I mean, he said it’s easier to pass a camel through the eye of a needle than for a rich man to get into Heaven. And he told his followers to drop what they had, to let go of their jobs, to let go of their material possessions. Even let go of their families. If they wanted to follow him, they had to let go of everything they were holding onto, all the things that brought them security in life. They had to be insecure. That’s pretty radical.
*
TERRY TEMPEST WILLIAMS: In personal terms, your life has been in limbo for the last two years. And that’s my word, not yours. But is it fair to say you haven’t known what your future is going to be? Because you didn’t know when you were going to go to trial, or whether you’d be convicted. How has that felt?
TIM DECHRISTOPHER: I think part of what empowered me to take that leap and have that insecurity was that I already felt that insecurity. I didn’t know what my future was going to be. My future was already lost.
TERRY: Coming out of college?
TIM: No. Realizing how fucked we are in our future.
TERRY: In terms of climate change.
TIM: Yeah. I met Terry Root, one of the lead authors of the IPCC report, at the Stegner Symposium at the University of Utah. She presented all the IPCC data, and I went up to her afterwards and said, “That graph that you showed, with the possible emission scenarios in the twenty-first century? It looked like the best case was that carbon peaked around 2030 and started coming back down.” She said, “Yeah, that’s right.” And I said, “But didn’t the report that you guys just put out say that if we didn’t peak by 2015 and then start coming back down that we were pretty much all screwed, and we wouldn’t even recognize the planet?” And she said, “Yeah, that’s right.” And I said: “So, what am I missing? It seems like you guys are saying there’s no way we can make it.” And she said, “You’re not missing anything. There are things we could have done in the ’80s, there are some things we could have done in the ’90s — but it’s probably too late to avoid any of the worst-case scenarios that we’re talking about.” And she literally put her hand on my shoulder and said, “I’m sorry my generation failed yours.” That was shattering to me.
TERRY: When was this?
TIM: This was in March of 2008. And I said, “You just gave a speech to four hundred people and you didn’t say anything like that. Why aren’t you telling people this?” And she said, “Oh, I don’t want to scare people into paralysis. I feel like if I told people the truth, people would just give up.” And I talked to her a couple years later, and she’s still not telling people the truth. But with me, it did the exact opposite. Once I realized that there was no hope in any sort of normal future, there’s no hope for me to have anything my parents or grandparents would have considered a normal future — of a career and a retirement and all that stuff — I realized that I have absolutely nothing to lose by fighting back. Because it was all going to be lost anyway.
*
TERRY TEMPEST WILLIAMS: Here’s an idea that I want to know what you think of: Laurance Rockefeller, as you know, came from a family of great privilege, and he was a conservationist. And in his nineties, he informed his family that the JY Ranch — the piece of land in Grand Teton National Park that his father, John D. Rockefeller, set aside for his family — would be returned to the American people. This was a vow he had made to his father. And he was going to “rewild it” — remove the dozens of cabins from the land and place them elsewhere. Well, you can imagine the response from his family. Shocked. Heartsick. Not pleased. But he did it anyway, and he did it with great spiritual resolve and intention. He died shortly after. I was asked to write about this story, so I wanted to visit his office to see what he looked out at when he was working in New York. Everything had been cleared out, except for scales and Buddhas. That was all that was in there. I was so struck by that. And his secretary said, “I think you would be interested in this piece of writing.” And she disappeared and she came back, and this is what she handed me: [Reading] “I love the concept of unity and diversity. Most decisions are based on a tiny difference. People say, ‘This was right, that was wrong’; the difference was a feather. I keep scales wherever I am to remind me of that. They’re a symbol of my awareness. Of the distortion most people have of what is better and what is not.” How would you respond to that? The key sentence, I think, is, “The difference was a feather.”
TIM DECHRISTOPHER: Yeah, the difference is a feather. I guess that’s why I believe that we can be powerful as individuals. Why we actually can make a difference. The status quo is this balance that we have right now. And if we shift ourselves, we shift that scale. I remember one of the big things that pushed me over the edge before the auction was Naomi Klein’s speech that she gave at Bioneers in November of 2008. She was talking about Obama, and talking about where he was at with climate change, and the things he was throwing out there as campaign promises, you know, the best things he was offering. And she was talking about how that’s nowhere near enough. That even his pie-in-the-sky campaign promises were not enough. And she talked about how, ultimately, Obama was a centrist. That he found the center and he went there. And that that’s where his power came from. She said, “And that’s not gonna change.” And so if the center is not good enough for our survival, and if Obama is a centrist, and will always be a centrist, then our job is to move the center. And that’s what she ended the speech with: “Our job is to move the center.” And it was so powerful that we actually got the video as soon as we could and replayed it at the Unitarian church in Salt Lake, and had this event one evening where we played that speech and then broke up into groups and talked about what it meant to move the center. And what I came away from that with was the realization that you can’t move the center from the center. That if you want to shift the balance — if you want to tilt that scale — you have to go to the edge and push. You have to go beyond what people consider to be reasonable, and push.
*
Read the entire interview here: https://orionmagazine.org/article/what-love-looks-like
.
*
TERRY TEMPEST WILLIAMS: A while back I was reading Albert Schweitzer’s book on historical Jesus. Do you see Jesus as a historical figure in terms of leadership?
TIM DECHRISTOPHER: Yeah, I do view him as an example of a revolutionary leader.
TERRY: How?
TIM: Well, he was saying very challenging things both to the people who were following him and to the dominant culture at the time. And it led to some radical changes in the way people were living and the way people were structuring society.
TERRY: What would you view as the most radical of his teachings?
TIM: Turning the other cheek, I think, is one extremely radical thing. That, I think, is his powerful message about civil disobedience. And the other, which might be even more radical, is letting go of material wealth. That’s so radical that Christians today still can’t talk about it. I mean, he said it’s easier to pass a camel through the eye of a needle than for a rich man to get into Heaven. And he told his followers to drop what they had, to let go of their jobs, to let go of their material possessions. Even let go of their families. If they wanted to follow him, they had to let go of everything they were holding onto, all the things that brought them security in life. They had to be insecure. That’s pretty radical.
*
TERRY TEMPEST WILLIAMS: In personal terms, your life has been in limbo for the last two years. And that’s my word, not yours. But is it fair to say you haven’t known what your future is going to be? Because you didn’t know when you were going to go to trial, or whether you’d be convicted. How has that felt?
TIM DECHRISTOPHER: I think part of what empowered me to take that leap and have that insecurity was that I already felt that insecurity. I didn’t know what my future was going to be. My future was already lost.
TERRY: Coming out of college?
TIM: No. Realizing how fucked we are in our future.
TERRY: In terms of climate change.
TIM: Yeah. I met Terry Root, one of the lead authors of the IPCC report, at the Stegner Symposium at the University of Utah. She presented all the IPCC data, and I went up to her afterwards and said, “That graph that you showed, with the possible emission scenarios in the twenty-first century? It looked like the best case was that carbon peaked around 2030 and started coming back down.” She said, “Yeah, that’s right.” And I said, “But didn’t the report that you guys just put out say that if we didn’t peak by 2015 and then start coming back down that we were pretty much all screwed, and we wouldn’t even recognize the planet?” And she said, “Yeah, that’s right.” And I said: “So, what am I missing? It seems like you guys are saying there’s no way we can make it.” And she said, “You’re not missing anything. There are things we could have done in the ’80s, there are some things we could have done in the ’90s — but it’s probably too late to avoid any of the worst-case scenarios that we’re talking about.” And she literally put her hand on my shoulder and said, “I’m sorry my generation failed yours.” That was shattering to me.
TERRY: When was this?
TIM: This was in March of 2008. And I said, “You just gave a speech to four hundred people and you didn’t say anything like that. Why aren’t you telling people this?” And she said, “Oh, I don’t want to scare people into paralysis. I feel like if I told people the truth, people would just give up.” And I talked to her a couple years later, and she’s still not telling people the truth. But with me, it did the exact opposite. Once I realized that there was no hope in any sort of normal future, there’s no hope for me to have anything my parents or grandparents would have considered a normal future — of a career and a retirement and all that stuff — I realized that I have absolutely nothing to lose by fighting back. Because it was all going to be lost anyway.
*
TERRY TEMPEST WILLIAMS: Here’s an idea that I want to know what you think of: Laurance Rockefeller, as you know, came from a family of great privilege, and he was a conservationist. And in his nineties, he informed his family that the JY Ranch — the piece of land in Grand Teton National Park that his father, John D. Rockefeller, set aside for his family — would be returned to the American people. This was a vow he had made to his father. And he was going to “rewild it” — remove the dozens of cabins from the land and place them elsewhere. Well, you can imagine the response from his family. Shocked. Heartsick. Not pleased. But he did it anyway, and he did it with great spiritual resolve and intention. He died shortly after. I was asked to write about this story, so I wanted to visit his office to see what he looked out at when he was working in New York. Everything had been cleared out, except for scales and Buddhas. That was all that was in there. I was so struck by that. And his secretary said, “I think you would be interested in this piece of writing.” And she disappeared and she came back, and this is what she handed me: [Reading] “I love the concept of unity and diversity. Most decisions are based on a tiny difference. People say, ‘This was right, that was wrong’; the difference was a feather. I keep scales wherever I am to remind me of that. They’re a symbol of my awareness. Of the distortion most people have of what is better and what is not.” How would you respond to that? The key sentence, I think, is, “The difference was a feather.”
TIM DECHRISTOPHER: Yeah, the difference is a feather. I guess that’s why I believe that we can be powerful as individuals. Why we actually can make a difference. The status quo is this balance that we have right now. And if we shift ourselves, we shift that scale. I remember one of the big things that pushed me over the edge before the auction was Naomi Klein’s speech that she gave at Bioneers in November of 2008. She was talking about Obama, and talking about where he was at with climate change, and the things he was throwing out there as campaign promises, you know, the best things he was offering. And she was talking about how that’s nowhere near enough. That even his pie-in-the-sky campaign promises were not enough. And she talked about how, ultimately, Obama was a centrist. That he found the center and he went there. And that that’s where his power came from. She said, “And that’s not gonna change.” And so if the center is not good enough for our survival, and if Obama is a centrist, and will always be a centrist, then our job is to move the center. And that’s what she ended the speech with: “Our job is to move the center.” And it was so powerful that we actually got the video as soon as we could and replayed it at the Unitarian church in Salt Lake, and had this event one evening where we played that speech and then broke up into groups and talked about what it meant to move the center. And what I came away from that with was the realization that you can’t move the center from the center. That if you want to shift the balance — if you want to tilt that scale — you have to go to the edge and push. You have to go beyond what people consider to be reasonable, and push.
*
Read the entire interview here: https://orionmagazine.org/article/what-love-looks-like
.
January 3, 2023
I Love Dick meets All That Jazz
.
For the author's questionnaire they always ask the question: describe your book as ___________ meets ___________.
And for my last book I think I came up with one that was pretty good: I Love Dick meets All That Jazz.
This is the book: http://bookthug.ca/shop/books/authenticy-is-a-feeling-my-life-in-pme-art-by-jacob-wren/
Also available in French (translated by Daniel Canty): https://www.leslibraires.ca/livres/un-sentiment-d-authenticite-ma-vie-jacob-wren-9782898011160.html
.
For the author's questionnaire they always ask the question: describe your book as ___________ meets ___________.
And for my last book I think I came up with one that was pretty good: I Love Dick meets All That Jazz.
This is the book: http://bookthug.ca/shop/books/authenticy-is-a-feeling-my-life-in-pme-art-by-jacob-wren/
Also available in French (translated by Daniel Canty): https://www.leslibraires.ca/livres/un-sentiment-d-authenticite-ma-vie-jacob-wren-9782898011160.html
.
Labels:
All That Jazz,
Authenticity is a Feeling,
Chris Kraus,
PME-ART
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