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Let me ruin it for you in saying
When bolts snap on your spine’s taser
Poetry pools in the outer, more angelic plume,
Material numeral’s fluid firewall.
A gust juliennes my cats
Leaving two fur chandeliers
Lit by future movements, sun’s installed
And socket-shaken glare
Beating from bone’s mirror as thought
Enters and exits its dock.
Their fresh event now whirs to that limit
Around the room, twin atlas volumes
Read like flip books whose vile jelly
Windows into paper guts—
We see through them but they’re still there, I’m
Sure as frost fakes your words
In other of Earth’s clawed curtains.
At what hour should we call it night?
Pointing north and south, a reassembled freedom,
Poetry’s architectural history grows
Fungal on the number one. I’d love to go
Down facing stars, such mud.
The gathering environment told my
Contagion that these were friends.
I’m totally not you, but figuring this illness can’t be eradicated
While certain ones do veer off their blackened boughs,
How far does the ripple reach when seeds roll down a septic
System? Liquids exist but not
A fluid world. Still each lack, maybe a grave,
Clots this paradise stinking from our evidence
Into a honking syllable’s bill, mass snapped up from Narcissus’s
Second surface. Nothing’s a clone and
Your descent through that choral throat says
You’ve already encountered the first fungus, a duplicate life.
As your pupil slips into its keyhole you release a little cough
And in the ill-lit room beyond the door an empty suit
Turns its head, information and defense spilling from its pit
In the shitty willow’s boundless shadow.
* * *
Daniel Poppick is the author of The Police (Omnidawn, forthcoming in 2017) and Vox Squad (Petri Press, 2014). His poems appear in BOMB, The New Republic, Granta, The Volta, and Fence. He currently teaches writing at Parsons and co-edits the Catenary Press with Rob Schlegel and Rawaan Alkhatib. He lives in Brooklyn.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…