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i feed myself

@cmao / cmao.tumblr.com

i'm clare
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veghengt
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anneboyer

what resembles the grave but isn't

Always falling into a hole, then saying “ok, this is not your grave, get out of this hole,” getting out of the hole which is not the grave, falling into a hole again, saying “ok, this is also not your grave, get out of this hole,” getting out of that hole, falling into another one; sometimes falling into a hole within a hole, or many holes within holes, getting out of them one after the other, then falling again, saying “this is not your grave, get out of the hole”; sometimes being pushed, saying “you can not push me into this hole, it is not my grave,” and getting out defiantly, then falling into a hole again without any pushing; sometimes falling into a set of holes whose structures are predictable, ideological, and long dug, often falling into this set of structural and impersonal holes; sometimes falling into holes with other people, with other people, saying “this is not our mass grave, get out of this hole,” all together getting out of the hole together, hands and legs and arms and human ladders of each other to get out of the hole that is not the mass grave but that will only be gotten out of together; sometimes the willful-falling into a hole which is not the grave because it is easier than not falling into a hole really, but then once in it, realizing it is not the grave, getting out of the hole eventually;  sometimes falling into a hole and languishing there for days, weeks, months, years, because while not the grave very difficult, still, to climb out of and you know after this hole there’s just another and another; sometimes surveying the landscape of holes and wishing for a high quality final hole; sometimes thinking of who has fallen into holes which are not graves but might be better if they were; sometimes too ardently contemplating  the final hole while trying to avoid the provisional ones; sometimes dutifully falling and getting out, with perfect fortitude, saying “look at the skill and spirit with which I rise from that which resembles the grave but isn’t!“ 

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okisogumi

always reblog

#anne boyer#poetry
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riceblush-deactivated20181229
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sinetheta
小时候， 乡愁是一枚小小的邮票， 我在这头， 母亲在那头。 长大后， 乡愁是一张窄窄的船票， 我在这头， 新娘在那头。 后来啊， 乡愁是一方矮矮的坟墓， 我在外头， 母亲在里头。 而现在， 乡愁是一湾浅浅的海峡， 我在这头， 大陆在那头。 When I was young, my homesickness was a small stamp, I was here, my mother was there. After growing up, my homesickness was a narrow ticket, I was here, my bride was there. Later, my homesickness was a little tomb, I was outside, my mother was inside. And now, my homesickness is a shallow strait, I am here, the mainland is there.

Nostalgia (乡愁) by Yu Guangzhong (余光中). 1971.

Yu Guangzhong (b. 1928) is a Taiwanese writer and scholar. He and his family fled his birth city of Nanjing in 1950 following the founding of the People’s Republic of China under the Communist party, eventually settling in Taiwan. As he was in his twenties at the time, many of Yu’s works focus on his longing for the mainland, to which he could not return for a long time. 

(via taiyuanese)

#poetry#yu guangzhong
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transientseoul-deactivated20160
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canadianbeerandpostmodernism

In 1942, shortly after the U.S. entered World War II, President Roosevelt issued Executive order 9066, which declared areas of the country military zones. This led to the forced relocation of Japanese-Americans to internment camps. The U.S. War Relocation Authority hired photographer Dorothea Lange to document the relocation process in the Pacific Coast area.

Lange’s earlier work documenting displaced farm families and migrant workers during the Great Depression did not prepare her for the disturbing racial and civil rights issues raised by the Japanese internment. Lange quickly found herself at odds with her employer and her subjects’ persecutors, the United States government.

To capture the spirit of the camps, Lange created images that frequently juxtapose signs of human courage and dignity with physical evidence of the indignities of incarceration. Not surprisingly, many of Lange’s photographs were censored by the federal government, itself conflicted by the existence of the camps.

Over 100,000 Japanese American men, women, and children were relocated and detained at these camps. ( )… This internment is now recognized as a violation of their human and civil rights. In 1980, the US government officially apologized and reparations were paid to survivors.

The true impact of Lange’s work was not felt until 1972, when the Whitney Museum incorporated twenty-seven of her photographs into Executive Order 9066, an exhibit about the Japanese internment.

ASX Magazine

#dorothea lange#photography#important things
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