Essentially I, a poststructuralist rhetoric nerd, thought, I’m trying to write a play about the failures of all those other “girls” stories to reflect the real “girls” I know, and that word is so fucking insufficient, but I don’t have another word for these women.
Two pieces that delve into ideas surrounding worship and identity: Angie Pittman’s “Came Up in a Lonely Castle” and Johnnie Cruise Mercer/TheREDProjectNYC’s “Process memoir 4: The word, the spirit, and Little Rock.”
And, yet, we are here, re-fashioning community and remaining soft in a building of stone. The monuments are crumbling. We can take an ax to their base or let them dissolve to the dust of their origin story.
This idea of American desire and what’s encapsulated in that is this reckoning, but, also holding the truths of being white in American culture means you have to hold the history of being an oppressor. But, then, how do you hold that?
The impacts of grief, however miniscule or massive, are the focus of “Submerge 2017: Break Time”, a festival curated primarily by Ali Rosa-Salas. Interested in the ways in which “we” are “permitted” to grieve in public space and, as the curatorial statement offers, a concern on the “expectation to bounce back,” Rosa-Salas has assembled an enriching near week of events, ranging from breath work to brunch to bike rides, in recognition of the ways the personal is political; the ways we are alone with others; and the ways in which everything, art or otherwise, is necessarily interdependent.