Support Hyperallergic’s independent arts journalism.
Editor’s note: Last week, Hyperallergic co-presented Art After Trump, a night of two-minute creative responses to the election at Housing Works Bookstore Cafe. This week, we’re publishing a few of those pieces.
Days after the election, I searched for books that would speak to the fear and despair I was feeling. I went to my shelf and grabbed a set of books — some prose, some essays, some poems. I’d read one passage intensely for a little bit and then move on to the next, underlining as I went, as though I were on some kind of search.
I decided to revisit those texts and make a poem, or conversation, out of some of the things I underlined. I have quoted Elizabeth Bishop, Maira Kalman, Maggie Nelson, Alejandra Pizarnik, Simone Weil, and Ellen Willis. All women.
Forgive me if it’s scattered, but I think it speaks to the fragmented spirit of the moment.
* * *
sexism combined with anger was always potentially fascistic
she is afraid of not knowing how to name
what doesn’t exist
if feminism had taught me anything, it was that the liberated woman
was a myth
But why bother with diagnoses at all,
if a diagnosis is but a restatement of the problem?
it is the longing for happiness that is potentially radical
How are we all so brave as to take step after step?
When I say “hope,” I don’t mean hope for anything in particular.
every party is totalitarian — potentially, and by aspiration
I guess I just mean thinking that it’s worth it to keep one’s eyes open.
Women in a patriarchy have every reason to
distrust male sexuality and fear their own.
Just when I thought I couldn’t stand it
another minute longer, Friday came.
There is nothing illusory in this tiny heaven.
I am silent with gratitude.
Frey ponders why she felt comfort in television and film content that intellectuals often take pride in dismissing.
What does Rutherford Falls, a new TV series that prominently features two small town museums, tell us about the way people see the contentious stories on display in history and art institutions?
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
The French television program does a good job exploring how people cope with work-related drama and its impact on relationships.
From European detective dramas to art documentaries, Yau reflects on some highlights from a year inside.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.