21 5 / 2013
"Basically, I think y’all are doing awesome work and I am honored to be able to support the project in whatever way I can. - Sarah McCarry, Guillotine creator & POCZP fundraiser"
Announcement from Sarah:
I cannot even TELL YOU in the LANGUAGE OF WORDS how excited I am to be publishing Mimi Thi Nguyen and Golnar Nikpour’s conversation on punk. No lie, friends, this chapbook is going to melt the fuck right off your face. You can preorder it now; it’ll ship in mid-June. Use the discount code PUNKSNOTDEAD for $2 off your order between now and May 31. All the proceeds from the special edition will benefit the POC Zine Project’s Race Riot! 2013 tour.
This collaboration is beautiful to us on multiple levels: Mimi was instrumental in making the first Race Riot! tour a success last year and will be joining us again this year. Golnar is an inspiration to POCZP and she performed at the first Race Riot! tour event in Brooklyn with her band In School.
Guillotine is an ongoing series of handbound chapbooks with letterpress-printed covers, and each chapbook is a single essay.
“Punk is a moving target”: Punk is an unwieldy object of study—because of fictions that circulate as truth, absences in archives and the questionable subject of recovery, and the passage of “minor” details into fields of knowledge. A conversation about the politics of methodology, and historiography, of subculture. 32 pp., 4.5 x 6.5”. ***SHIPS IN JUNE 2013, 243 IN STOCK***
MIMI THI NGUYEN is an Associate Professor of Gender and Women’s Studies and Asian American Studies at the University of Illinois, Urbana-Champaign and the author of The Gift of Freedom. She has made zines since 1991, including Slander and the compilation zine Race Riot. Nguyen is a former Punk Planet columnist and a Maximum Rocknrollshitworker; she is also a frequent collaborator with Daniela Capistrano for the POC Zine Project.
GOLNAR NIKPOUR served as co-coordinator of Maximum Rocknrollbetween 2004 and 2007. She is also a founding editor of B|ta’arof, a magazine featuring art, literature, historiography, and cultural critique related to Iran and its diaspora. She was born in Tehran, Iran, and lives in New York City.
SUPPORT POC ZINE PROJECT
If everyone in our community gave $1, we would more than meet our fundraising goal for 2013. If you have it to spare, we appreciate your support. All funds go to our 2013 tour, the Legacy Series and the poverty zine series.
DONATE link via PayPal: http://bit.ly/SHdmyh
14 5 / 2013
[Image: from the Black Community Survival Conference, DeFremery (locally known as Lil’ Bobby Hutton) Park, Oakland, CA, March 29, 1972. I first encountered this image via Alondra Nelson’s brilliant book Body and Soul: The Black Panther Party and the Fight Against Medical Discrimination.]
“If I were president, I would solve this so-called welfare crisis in a minute and go a long way toward liberating every woman. I’d just issue a proclamation that ‘women’s’ work is real work.”
- Johnnie Tillmon, “Welfare as a Women’s Issue.”
”The modern world hates to see black folks resting.”
- Lewis Gordon, “African American Philosophy, Race, and the Geography of Reason.”
This post is an experiment. It attempts to find a new route to the question of what it means to politicize Audre Lorde’s legacy. Its search is partly in response to what I described in part 1 as the tendency in some cases to deify Lorde by extracting her from the political context in which she lived, or by reducing her to a set of pithy (if brilliant) quotations, or by invoking her as an unqualified paragon of black women’s resilience. In attempting to route the conversation differently, my strategy is to try and glimpse Lorde through an archive that is not of her published writings but of a set of struggles and contexts that affirm dimensions of her humanity and her work that are too rarely emphasized—her struggles with health and wellness, her status as worker, her vulnerability to the very discourses that demand that she be seen as powerful. Doing this means following a route that may, to some, seem rather circuitous. I can only hope that by the end, those divergences will make some sense.