Stacy Hardy: The Empty Plot

The empty lot gapes, yawns and quivers. It exhales dust and sucks the blue out of the sky. It draws her to it, an emptiness that calls out, that whispers and jeers. A wide mouth, that says, come, that dares her.  She has no business with the empty plot. It is a nothing place, a no place, not a place but a gaping, an emptiness that is yet to be filled, something still to come.

It has no address at present, nothing that sets it apart in the neighbourhood. There are so many. Empty stretches of land cleared for some future construction never to come, suspended in the eternal yawning present of oblivion. Plots that have stood so long that they have become part of the landscape, vast parks where rubbish accumulates, some partially developed, deep holes sunk in the earth, now filled with murky water that collects debris, the pokes of steel foundations casting dancing shadows on the surface like the spines of poisonous fish; ruinous scaffold of catastrophic geometries that shade rows of empty buildings, concrete structures looming like theme park wreckage, dark and sullen, windows dust coated, shattered in places, doors padlocked against squatters that never come. The streets that hem them, nearly deserted, monuments to some moment of false hope, a future that dims with each day, grows wary, listless, the air dirty with stalled development.

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𝐹𝑜𝓊𝓃𝒹 Crip Studies

Yet these poetry editors, who of all people should understand irony, now reject the role of authorial intention in creating meaning in favor of a naive view of language, whereby a word itself, regardless of how it is being used, has the magical power to inflict harm.

Their new reading is both literarily and linguistically illiterate. The meaning of language arises in a particular context and with reference to authorial intention, implicit or explicit. In the victim universe, however, dare to use a forbidden word, no matter how bracketed by irony, and the mob now has the power to declare you a witch or heretic, with shunning to follow. Nuance and ambiguity are prohibited. Authors are reduced to choosing from the official list of approved words and avoiding taboo items. Only the victims and the gatekeepers of victim culture, whose ideological purity is beyond reproach, are allowed irony. “Crip studies” is a recent sprout in the fertile fields of victim studies, referring not to the sociology of gangs, but rather to the allegedly artificial construction of disability. Its practitioners may use “cripple;” uncertified white male poets may not.

— from “The Death of the Author and the End of Empathy” by Heather Mac Donald on quillette.com

2018

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