Sean Bonney, Further Notes on Militant Poetics
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Sean Bonney, Further Notes on Militant Poetics

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If You Would
You could stop the factory whistles blowing, Stop the mine machines from going, Stop the atom bombs exploding, Stop the battleships from loading, Stop the merchant ships from sailing, Stop the jail house keys from turning, Stop the trains from running, Wheels from rolling where they roll, Mouths from eating Hearts from beating— Starve and die to save your soul— If you would. You could If you Would. Langston Hughes
from Actualities. Text by Norma Cole, drawing by Marina Adams. Printed by Middle Press
Helen Frankenthaler: Ramblas, 1987-88, Ed. 11/75 (Six color lithograph, drypoint, and etching)
Ernst Bloch, (Report): Little Daydreams

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Back-Ordered Tears
It was when neon was no longer available
That they went mad.
There was nothing to cut the Formica.
Offbeat shouting dirty words
Dropping glitter on backward lands
Nothing seemed to help.
It was quarter to 2 in a small, dull town
Jukebox exhausted, coffee burned stale
A go-go girl sluffs on her bedroom slippers
Punches some feeling back into her thighs.
It was in those days musicians started dancing
Didn't have to touch their instruments.
In fact, they couldn't even stop the music playing
It was so much sadness in the world.
—Lorenzo Thomas
As a replacement for ideology, the imaginary is untinged by the well-rehearsed problems and antinomies of theories of ideology in the tradition of Marxism and critical theory—the claims that domination and/or social reproduction depends on the false beliefs of social agents, that these beliefs are the outcome of a systemic process of distortion that produces deceptive appearances, and that the beliefs of social agents, in particular the dominated, may therefore be understood as the functional correlates of an unfree social formation. Yet […] these advances come at a considerable cost. Two issues stand out. First, theories of the imaginary are […] idealist. They tend to hypostatize imaginaries, render them as causal or determining factors of social life while leaving nebulous how the shared meanings and representations that imaginaries encompass relate to the material social structure, social interests, forms of social power, or to what Antonio Gramsci called the "two great 'floors' of the superstructure": civil society and the state. The elements that constitute the collective imaginary are untethered from any social theory and hover unencumbered in the clear morning sky. … Second and relatedly, the idiom of imaginary promotes cultural analysis in consensual terms, as if shared ideas, desires, affects, values, and images were merely the result of membership in a linguistic or cultural community. […] As a stopgap for utopia, collective imaginaries are adduced as a resource to build movements for climate renewal, social justice, and many other things. Thus theorists who understand their vocation as not just understanding but also transforming the social world frequently call for fashioning new collective imaginaries: imaginaries that respond to current crises and that also exhibit normatively attractive features in the sense that they should be oriented towards inclusive, democratic, socialist, ecological, and feminist values. Designing such imaginaries, we are told, will rekindle the motivational deficit of contemporary Left politics. Such exhortations to curate alternative imaginaries operate with the premise that what is missing in contemporary political life are adequate images, symbols, and frameworks, and if these were to be supplied, energy and vitality would follow. Yet in contrast to earlier iterations of Marxism and critical theory that—coming out of the Hegelian tradition—emphasized the importance of developing knowledge and understanding of social and historical processes as a condition for their transformation, the subject that is invited to free itself by adopting or constructing a collective imaginary has a superficial, contingent, and casual relationship to the latter. To suggest that an emancipatory politics can be based on imaginaries constructed at will presumes that imaginaries are constitutive of our moral psychology and act as sources of motivation. Presupposed is a subject that is conditioned to act in response to changes in the imaginary and more specifically, to engage in collective action. The problem of emancipatory social transformation on this interpretation is reduced to coordinating a collective desire or will for which we need resonance rather than historical consciousness, concepts and theories, or an understanding of the balance of social forces.
Yves Winter, "What Is an Imaginary?" Critical Inquiry 52, no. 2 (2026)
Satire is a sort of glass, wherein beholders do generally discover everybody's face but their own.
Jonathan Swift
—Emily Dickinson, envelope poem A821, The Gorgeous Nothings

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Pienso en el marketing como en Dios: no existe, está en todas partes y cada uno lo usa para justificar lo que se le antoja.
Roberto Jacoby, interview with Francisco Ali-Brouchoud, from Roberto Jacoby, el deseo nace del derrumbe (2011)
Nigeria
I don't know who needs to hear this
“...you must screw up your eyes and bully them, squeeze your sight through the impenetrable, push across the dull humus—and suddenly you are at your goal, on the other side; you are in the Deep, in the Underworld. And you can see . . . “It is not quite as dark here as we thought. On the contrary, the interior is pulsating with light. It is, of course, the internal light of roots, a wandering phosphorescence, tiny veins of light marbling the darkness, an evanescent shimmer of nightmarish substances. Likewise, when we sleep, severed from the world, straying into deep introversion, on a return journey into ourselves, we can see clearly through our closed eyelids, because thoughts are kindled in us by internal tapers and smolder erratically. This is how total regressions occur, retreats into self, journeys to the roots. This is how we branch out into anamnesis and are shaken by underground subcutaneous shivers. For it is only above ground, in the light of day, that we are a trembling, articulate bundle of tunes; in the depth we disintegrate again into black murmurs, confused purring, a multitude of unfinished stories. “It is only now that we realize what the soil is on which spring thrives and why spring is so unspeakably sad and heavy with knowledge. Oh, we would not have believed it had we not seen it with our own eyes! Here are labyrinths of depth, warehouses and silos of things, graves that are still warm, the litter, and the rot. Age-old tales. Seven layers (like in ancient Troy), corridors, chambers, treasure chests. Numerous golden masks—one next to another—flattened smiles, faces eaten out, mummies, empty cocoons . . . Here are columbaria, the drawers for the dead, in which they lie dessicated, blackened like roots, awaiting their moment. Here are great apothecary storerooms where they are displayed in lachrymatories, crucibles, and jars.” —Bruno Schulz, Sanatorium Under the Sign of the Hourglass
Songs: Ohia - Two Blue Lights Didn't It Rain (2002).

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Walt Whitman, from "Song of Myself"
Philip Guston, Two Hearts, 1978