3 interviews, 1 art review, 1 Terrance Hayes, 2 novels, 1 therapeutic theater date, 7 action items, 5 righteous reads, 1 Thanksgiving road trip
Here’s what I wrote on Facebook on November 9 as an intro to my inverview with John Pluecker: “I was aggravated that (by total coincidence) my first interview for Public Poetry came out today, of all days, when we are mourning, not self-promoting. But it’s actually pretty relevant. John Pluecker is an activist (and experimental poet, with a cool new book), and we talked about language justice and what it means to be a social justice interpreter, among other things.
Check it out and get motivated, because that’s what has to happen next. Make sure to drink a lot of water because crying will give you a headache.”
Our focus here at the museum is to educate the entire community — not just the Jewish community — on the importance of the lessons of the Holocaust: fighting hatred, apathy, and prejudice. Taking those lessons and communicating them effectively to the public is our mission.
—Kelly Zúñiga, CEO of the Holocaust Museum of Houston
The way I see it, we’re not in business just to make money. Of course, that’s a big part of it but we want our efforts to mean so much more. Growing up, I watched my family act in ways with such big hearts towards other people that it just became a part of who I am.
I loved one of these artists and was lukewarm on the other, so yay, I got some practice trying to write a not-glowing review. One of my favorite pieces, “Draped Marble” by Analia Saban, is pictured below.
I had no idea that the brilliant poet Terrance Hayes is also a visual artist. Luckily I found out about a presentation he was doing at the Menil Collection at the last minute, about the relationship between drawing and writing. I had a little bit of trouble finding his work online, but this article in 1839 has some great examples.
“We Love You Charlie Freeman”
2016, Algonquin Books
I read most of this fantastic debut novel in a day. It’s about an African-American family who move to the Berkshires in 1990 to “adopt” a chimp named Charlie and communicate with him via sign language (in which they are all fluent). But it’s really about their family, and the deep wounds of racism throughout American history that have yet to heal. In light of the election, themes of casual (and overt) white supremacy, guilt vs. shame, and desperate stabs at happiness are especially poignant.
2106, Hogarth Shakespeare Series
Shakespeare’s “The Tempest” is a silly yet beautiful work, and Atwood’s is no different, albeit touching in more immediate sense. Artistic Director Felix, our Prospero, is ousted by his theater company just as he is about to mount his “Tempest” onstage. He becomes a hermit and eventually winds up teaching Shakespeare at a prison, with inmates as performers. When he starts directing them in “The Tempest,” his own plot for revenge unfolds. Yes, it’s ridiculous, especially the words Atwood puts in the inmates’ mouths. But Shakespeare’s “Tempest” is no less ridiculous, and who expects anything else than storytelling mastery from Atwood? I hope that high schools start teaching this alongside “The Tempest.”
Speaking of cathartic theater: I saw Horsehead Theatre Co.’s “The Judgment of Fools” on November 12, four days after the election. The actors (Fool 1, Fool 2, etc.) mingled with audience members before the show started, taking selfies and chatting about the finer oddities of their costumes. The opening recording encouraged guests to not to turn their cell phones off — “Because what if this play is fucking boring?” — and the “head fool” encouraged us to heckle the actors at any time, or to run onstage and stop a scene with the big red bullhorn perched just offstage.
The fools enacted scenarios, and we were encouraged to vocally judge them. “Shout ‘slut’ when I reach a point in my story in which you think I was acting like a slut,” said one actor. (When someone jokingly did so after two words of her story, she genuinely asked why, ready to hear his answer.) An unwitting volunteer became a contestent in a “stereotype pageant.” One audience member’s facebook page was projected onto a screen, and the audience encouraged to judge him by it.
It all sounds very vindictive and awkward, and maybe it was with certain audiences, but people were largely kind and fair (or at least, they were when they shouted out). A cast of good and good-natured improvisors helps. I asked one of the “fools” if they always got this kind of reaction from the crowd, and he said that our audience was much more vocal than those they’d had before the election. People were ready to play (and in any cases, drink). So thank you, Horsehead Theatre Co., for producing new work that’s so damn fun, and — especially at this particular time — vital.
The Case for Normalizing Trump (bad headline, good article)
The “Stronger Together” facebook group (I’ll add you if you want)
Righteous reads on the wild internet:
We took an amazing four-day road trip across Texas and New Mexico over Thanksgiving break. Being from the east coast, I’d never been exposed to that kind of extreme scenery. For example, a prairie so sparse you can see an entire train plowing through it. And it’s been awhile since I could see the Milky Way at night. Even driving wasn’t all that bad. Plus, it was incredibly therapeutic to have limited internet access for a few days.
Lead image/Paul Nicklen