Confession to the Bossa Nova Police
or Requiem in Malva For a Brazilian Dance Partner, my poem in issue #17 of Hinchas de Poesia bilingual literary magazine. The guest-editor for Hinchas # 17 was James Cervantes.
Pay Colonus, one of my poems about history, appeared in The Missing Slate as one of the weekend poems earlier in October http://themissingslate.com/2015/10/19/pay-colonus/
Language is a monstrous force capable of rallying, by rhetoric, the sentiments necessary for nationalist calls to violence–such as the crusades inaugurated by Pope Urban II, or a pogrom of Dominicans against Haitians in the Caribbean in 2015. Controls on language are controls on thought, a violence predicated by fear of the word’s inherent violence. This is the difference between the political left and the right wing: the left uses political correctness–the controls and suppression of language, making it dull, paralyzed by fear of its capacity for destruction. But the right wing is carelessly loving the violence in language and rhetoric, always wanting to unleash it, to pull the saber and rifle. Both manipulations meet in irony and the wedding of farce. Farce is the end of humor, when no one can tell what is unimportant from what is important.
Poetry is the mastery and defiance of language. Poetry inverts and transforms the enemy language, lifts it from its growth within death. The poet is the enemy of both the rhetoricians and the monkish, priestly modifiers.
The Amsterdam-based art project Kunst-traject, organized by Joost Vermeulen and Annechien Verhey, provides for collective exhibitions in window showcases throughout two neighborhoods in Amsterdam. This autumn’s exhibition theme is Hospitality.
There is a street-side showcase exhibiting art works by me and by my fellow Arubian, Ray Zijlstra (see atelier Ray Zijlstra for more info) on the Van Boetzelaer street 80 in Amsterdam, as part of the collective exhibition organized by Kunsttrajectamsterdam taking place in the Staatsliederenbuurt of Amsterdam. To better locate the window holding my drawing, and Ray’s photo-collage-painting diptych, here is a map in pdf on the website of the Kunsttraject project for those transgressing through the fog of Amsterdam in search of hospitality’s castle porticoe-entrance http://www.kunsttrajectamsterdam.nl/pdf/pdf2015/kunsttraject%20-%20ledenexpo%20c%20def.pdf
A theory on Retro-Colonialism: The Exportation of Austerity as War Continued by Other Means, is explored in my article in CounterPunch. I report as a battle-field correspondent from the Kingdom of the Netherlands :http://www.counterpunch.org/2015/10/05/retro-colonialism-the-exportation-of-austerity-as-war-by-other-means/
The article Retro-Colonialism was also listed by OpenDemocracy.net in their ”pick of the web”
Before then I wrote two articles on migration, inspired by the struggle of the refugees who traversed the mediterranean and the many barking Cerberus hounds of the Macedonian and Hungarian police states, mere dogs of the Western European powers. Praise the Runaway can be read here
and The Migration Backwards, here.
Please consider donating to Counterpunch and becoming a patron of this important magazine and platform for political, radical thought against the mainstream’s anti-politics. The option of donation is explained on the website.
The Counterpunch also published my poem-series, Letters to Karl Marx, here http://www.counterpunch.org/2013/07/26/letters-to-karl-marx-by-arturo-desimone/
One my poems about history, Pay Colonus, in the Weekend Edition of The Missing Slate magazine
Under a social order that can be called fascism, an understanding of life as a cartoon or comic book, or alternately as a high-velocity suspense thriller novel, is continuously asserted, more so by the articulate and intellectuals than by young delinquents or children. The comic book, cartoon or suspense-genre novel becomes life and is participatory, goading the average person to feel they he lives it. In compensation, the permitted art increasingly becomes one of petty and private chronicles, whose inhabitants toast and exalt the glorious political changes while huddling along in timid and trivial humdrum. That is why Nazim Hikmet, the Turkish poet and revolutionary openly told Stalin his opinions on socialist realist art: Hikmet decried that socialist realism was neither ”socialist” nor ”realism” but actually a ”petit bourgeois art” Yet the ordinary citizen supporting Stalinism felt that life had become the thriller, the suspense novel and comic book. Quotidian averagism and domestic life becomes the center-point of suspense, displacing art. The erosion of freedoms in a society is shown again and again as a big adventure, one in which average people in their clubs and associations are invited to participate in the grand scheme of manichean struggles, of finding the evil-doers.