Q: Here you are in Buenos Aires, part of a very vital, generational group, and the next thing you are in New York. Could you talk about the relationship between those different spaces?

Eduardo Costa: They were not different spaces, because I wasn't coming from one country to another country or from one culture to another culture, but I was coming from one arm of the art world to another arm of the art world, thinking of the art world as an octopus.

From:

 
El texto es a veces la sepultura que se le da a un cuerpo que apesta.

- De una entrevista con Rita Indiana

A Ceremony

By the time the cops showed up at the corner of Sampson and Jefferson, the artists gathered in the yard seemed to expect them. An officer — his badge said D. Avalos — stood at the fraying chain link fence at the edge of the yard. "The property is owned by HISD," he told the crowd. "Yes, I know," Lisa Harris said. The school district has just seized the home from my family, she explained to him. They were just saying goodbye. "Oh, I'm sorry," he responded. "No problem, ma'am." 

- By Leah Binkovitz at the Houston Chronicle. More here.


roots from JohnJuiceHarris on Vimeo.

The actual presence of I, the viewer, is required to truly apprehend the absence of you, the Other. These domestic ruins have been rafted from 
nowhere, from no one. I cannot sit in your chair, eat at your table. 
I cannot open your dresser and touch your shirts that will trigger eidetic memories of a dance or late night walk. The proximity between you and me is infinite. (And what kind of proximity do I need to write as witness? Should I have experienced the event myself? 
If I watched the video, can I write about it? Do I have to be related to the victim? And what do you mean by relation?) I can never metabolize what you went through yet I cannot escape your disquieting sadness, the burden of your solitude. How it unfolds even when I leave this space. What has become of you? What could have gone through your mind?

- Cathy Park Hong in Against Witness
No alimente el delirio de las redes sociales.









Postea en tu blog.
Y es este tipo de literatura la que sostiene mi esperanza, porque refleja la acción más alta a la que como escritores debemos acceder: el poder creativo sin disimular el terror al que un país nos tiene sometidos, sin callar nuestro hartazgo por la política de exterminio que parece controlar Centroamérica, pero con arte, pero con magia. Manifestando que no, no han podido arrebatarnos nada.

- Dolores Dorantes aquí