boundary 2

Tag: Dawn Lundy Martin

  • Library of Congress Interview with Dawn Lundy Martin, editor of forthcoming dossier in boundary2 vol. 52, no. 4 (November 2015)

    Poet, essayist, and multimedia artist Dawn Lundy Martin, editor of “On Race and Innovation,” a boundary2 dossier forthcoming in vol. 42, no. 5 (November 2015), was recently interviewed by the Library of Congress.  Below is a small excerpt of the interview:

    In contrast to conventional images of the black female body, your poems are stark in their physicality; they also speak of the body in a conceptualized way. Can you talk about this duality?

    The black female body is an invention of conventional thought. It has been conceived, at least in the West, via a series of manipulations, perceptions, and racist interventions by institutions—intellectual, political, and popular alike. I believe in the black female body only in so far as one is an individual who might make certain claims about their own legitimate being in the world. But that is difficult. How do we know ourselves except through the eyes of the other? How to claim something legitimately and intimately given the cultural representations of the black female body that have nothing to do with our interiorities? It’s a fraught intersection—femaleness and blackness—one that should not be easily articulated or regurgitated. Hence, what might be understood as a conceptualized means of approaching and speaking the black female body. I want to resist being put into your box of recognizability. I want to give the finger to those eyes of knowing/creating.”

    If you wish to read the interview in its entirety, please visit the Library of Congress website.

  • Race and the Poetic Avant-Garde

    by Dawn Lundy Martin

    The recent Boston Review issue on “Race and the Poetic Avant-Garde,” brings together a range of poets and scholars including Erica Hunt, Prageeta Sharma, Cathy Park Hong, Daniel Borzutsky, and Simone White–all of whom will appear in a special upcoming issue of boundary2 on “Race and Innovation”–to consider the long held cultural belief that “black” poetry and “avant-garde” poetry are necessarily in separate orbits.

    Both the Boston Review issue and the upcoming boundary2 issue find particular urgency in thinking through considerations of race and experimental poetics as the current controversy around Kenneth Goldsmith’s conceptual art piece (in which he reads the Michael Brown autopsy report) continues to raise questions about the black body, expendability, and how poets might speak in ways that refuse reproductions of race, gender, and class hierarchies. 

  • Mandela's Reflections: Meditations and Interventions from the b2 Collective

    Mandela's Reflections: Meditations and Interventions from the b2 Collective

    Editor’s Note
    from Paul Bové
    _

    Nelson Mandela died on December 5, 2013. Tony Bogues, a member of the boundary 2 Collective, was in South Africa, watching the endless coverage of the news and of Mandela’s life. Bogues had met Mandela during his time with the Jamaican government of Michael Manley, and he has spent considerable time working in South Africa, especially in Cape Town, on questions of freedom, archives, African and African Diaspora intellectual history, and political thought.

    At least one generation of intellectuals had stood against apartheid and reflected on Mandela as a political figure of freedom and liberation. Mandela never produced anything equivalent to the political writings of a Gramsci, Fanon, or Césaire. Because of the media and the global support for the struggles he led, Mandela acquired a resonance with effects across the globe. His career, with all its changes, posed challenges for thinking about politics.

    It seemed right that boundary 2 should take notice of Mandela and his influence. We decided to gather responses to Mandela as a political figure. b2 issued a call for very brief papers from several spots on the globe and from different generations. Our contributors have given us reason to feel this attempt was a success.

  • Mandela's Reflections

    At least one generation of intellectuals had stood against apartheid and reflected on Mandela as a political figure of freedom and liberation. Mandela never produced anything equivalent to the political writings of a Gramsci, Fanon, or Césaire. Because of the media and the global support for the struggles he led, Mandela acquired a resonance with effects across the globe. His career, with all its changes, posed challenges for thinking about politics.

    Nelson Mandela

    Editor’s Note from Paul Bové

    Preface by Anthony Bogues

    Mbu ya Ũrambu: Mbaara ya Cuito Cuanavale / The Cry of Hypocrisy: The Battle of Cuito Cuanavale by Ngũgĩ wa Thiong’o

    Discomforts by Hortense Spillers

    The Mandela Enigma by Wlad Godzich

    Mandela, Charisma, and Compromise by Joe Cleary

    Nelson Mandela on Nightline; or, How Palestine Matters by Colin Dayan

    Or, The Whale by Jim Merod

    Malaysian Mandela by Masturah Alatas

    Mandela, Tunisia, and I by Mohamed-Salah Omri

    Nelson Mandela by Ruth Y. Y. Hung

    Mandela Memories: An African Prometheus by Ngũgĩ wa Thiong’o

    Nelson Mandela: Decolonization, Apartheid, and the Politics of Moral Force by Anthony Bogues

    Mandela’s Wholeness, Perhaps Infinite by Dawn Lundy Martin

    [untitled] by Gayatri Chakravorty Spivak

    Mandela’s Gift by Sobia Saleem

  • Mandela's Reflections: Mandela's Wholeness, Perhaps Infinite

    Nelson_Mandela's_prison_cell,_Robben_Island,_South_Africa
    I recall almost nothing between the years of 1986 and 1990. Or, I recall only a few things that I recall very well. My first car was a white Datsun B-210 with an END APARTHEID sticker placed carefully on the bumper. It was 1989 or 1990. Once, I drove my English professor somewhere when the car’s interior was unkempt. She seemed too wide for the passenger seat and simultaneously shorter somehow, which embarrassed me. I do not remember what catalyst compelled me to put the END APARTHEID sticker on my car.

    1989 or 1990 was after everything had already happened. American colleges and universities had long divested from South Africa. The federal government was on board. I felt outside of the right time.

    There is the kind of remembering that heals and provides the material for forgiveness, and there is a kind of forgetting alongside it—the necessary cell-based kind—that can be a psychic savior. I know now that my elliptical memory is likely linked to my body’s habits of self-protection—to close down a part of the mind so that a parallel self might rise up in place of the other (endangered) self. This possibility that the self and the other might inhabit the same body. In order to remember some things, some neuroscientists theorize, you must forget other things. Repetition, of course, assists in memory; thus, I tend to remember things that happened over and over again but not singular events that happened once. Those abundant incidents, then, become one singular incident instead of several separate occurrences.

    None of us had ever seen him. The photographs on protest placards were taken before he was imprisoned at Robben Island. My first imagining of Mandela was after watching Mandela (1987), the film with Danny Glover and Alfre Woodard. This may have been my first political film. Every imagining of Mandela was interwoven with an image of Glover’s face. The way American cinema exchanges what we know about the world, however perverse that world. At the time, the actual Mandela was in his second of three prisons, Pollsmoor Prison, where he spent extended periods in solitary confinement for six years. In his autobiography, he writes this about solitary: “There is no beginning and no end; there is only one’s mind, which can begin to play tricks. Was that a dream or did it really happen?” How the impulse toward being alive might be broken. Where the mind pinches off like a tourniquet to keep the good blood in a forgetting that is curious and searching, that creates a possibility for survival. What is the self without memory? Forced upon the psyche, the mythos: pastlessness.

    That’s what director Steve McQueen says about the world: it’s “perverse.” Artist Kara Walker contends something similar: “What strikes me,” she says, “is how easy it is to commit atrocities.” The monstrosity of blackness presents itself in a side room of the mind. Sometimes we say, “How do I walk with this shadow cast,” and sometimes we say, “I am already looking ahead three paces of where you imagine me to be.” Like many people I know, I have recently had the distressing and arresting experience of watching McQueen’s 2013 film, 12 Years a Slave, based on a free black man’s account of being kidnapped and sold into slavery. Removed from the known world. Removed from the known self. What is it to project one’s self apart from the physical body? In the film, the most difficult scene for me to watch is the makeshift funeral for one of the slaves, in which Solomon Northrup, our brutalized protagonist, succumbs to his horrific reality and appears to recognize that the suffering of the others is his as well. But I don’t belong here. At first, while the others sing, he does not. His face is tight, brow furrowed—as if resisting something. Then, he is overtaken and begins to sing too, Roll, Jordan, Roll, a Negro spiritual. His body slumps into itself and, conversely, is also invigorated, or lifted, by the singing.

    When there are so many savage beatings in McQueen’s film, so many unimaginable psychic suffocations, why is this the moment that unsettles me most? Perhaps because years go by; he has been looking at his own imagined photo, remembering in precise architecture the self that does not belong in slavery. When he begins to sing, softly at first then more strongly, it’s as if the self Solomon has been holding on to disappears and in his place stands another self, one compelled by abjection. This forgetting of the past self simultaneously grounds him in his present suffering and allows him to reach toward disembodiment and the spiritual realm. This moment within suffering, paradoxically, offers a kind of rescue.

    The idea of the abject brings to mind the phrase “to be violently without one’s self.” The singing returns Solomon to a self, though foreign, but what for Mandela? If there is no time, then there is no memory. How did he maintain what appears to be a sense of self unmutated after being removed from the known world, the symbolic order? How to be a body that sustains grace when confronted with the catastrophic? To forget might be to resist claiming and categorizing knowledge. This is the work of the creative artist, I believe, and the opposite of the colonial impulse. I return often to the proposition that perhaps the body, like the self, approaches some unknowability, some forgetting. Was this Spinozan idea that the body resists knowing or, in Deleuze’s estimation, “surpasses the knowledge that we have of it” Mandela’s secret to being uncontained while contained? One of Nelson Mandela’s major contributions to the world is an exalted reference to this infinite body, a reference that afforded him the possibility of remaining unfractured, and to imagine a South Africa theretofore unknown.

    Dawn Lundy Martin

  • Summer 2014: Volume 41, Number 2

    Summer 2014: Volume 41, Number 2

    In Memoriam of Stuart McPhail Hall

    Each crisis provides an opportunity to shift the direction of popular thinking instead of simply mirroring the right’s populist touch or pursuing short-term opportunism. The left…must adopt a more courageous, innovative, “educative” and path-breaking strategic approach if they are to gain ground.
    –Stuart Hall and Alan O’Shea, “Common-sense Neoliberalism”

    Summer 2014: Volume 41, Number 2

    home_cover

    Intervention / Mandela’s Reflections

    Editor’s Note from Paul Bové:
    …We decided to gather responses to Mandela as a political figure. b2 issued a call for very brief papers from several spots on the globe and from different generations. Our contributors have given us reason to feel this attempt was a success.

    Preface by Anthony Bogues

    Mbu ya Ũrambu: Mbaara ya Cuito Cuanavale / The Cry of Hypocrisy: The Battle of Cuito Cuanavale by Ngũgĩ wa Thiong’o

    Discomforts by Hortense Spillers

    home_cover
    The Mandela Enigma by Wlad Godzich

    Mandela, Charisma, and Compromise by Joe Cleary

    Nelson Mandela on Nightline; or, How Palestine Matters by Colin Dayan

    Or, The Whale by Jim Merod

    Malaysian Mandela by Masturah Alatas

    Mandela, Tunisia, and I by Mohamed-Salah Omri

    Nelson Mandela by Ruth Y. Y. Hung

    home_cover

    Mandela Memories: An African Prometheus by Ngũgĩ wa Thiong’o

    Nelson Mandela: Decolonization, Apartheid, and the Politics of Moral Force by Anthony Bogues

    Mandela’s Wholeness, Perhaps Infinite by Dawn Lundy Martin

    [untitled] by Gayatri Chakravorty Spivak

    Mandela’s Gift by Sobia Saleem





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    Three Models of Emergency Politics by Bonnie Honig

    Democracy: An Unfinished Project by Susan Buck-Morss

    The Future of Reading? Memories and Thoughts toward a Genealogical Approach by Hans Ulrich Gumbrecht

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    b2 Interview
    History Unabridged: An Interview with Stefan Collini with Jeffrey J. Williams

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    Articles
    King Kong in America by Arif Dirlik

    How Global Capitalism Transforms Deng Xiaoping by Ruth Y. Y. Hung

    Is Dasein People? Heidegger According to Haugeland by Taylor Carman

    It’s Only the End of the World by Ben Conisbee Baer

    Passive Aggressive: Scalia and Garner on Interpretation by Andrew Koppelman