#sociopolitical poem

[existential-celestial]

#poem #literature #rumi #free palestine #joseph fasano #sociopolitical climate #an island mixed with blood #*

[fantodsdhrit]

oh why disrobed truth people eke solemn lies as truth that's your only truth

sunshine is laughing in my balcony

you arm him about aqua sarcophagi 

i accidentally let the refrigerator die

jews are arabs are jews slew gardyloo grimy fremen at their borders

your honeycomb heart logarithmic

picks a thousand in a room of thousand

not i or moi thousand one minus one

kill or be killed pressroom briefings chinese first-class red tie

you're beautiful no one interprets you

you're gorgeous and there goes holi

a handful of halogen love potions currency speculation tipsy

sea and spring and chrysanthemums

someone drowing herself with you as you

with your reflection your planetary influence your impaired glutes

tax avoidance for coke zero coitus

someone is walking like a bazaar with russia eyes with an individualistic salt

#poetry #dhrit #spilled ink #inkskinned #politics #war #geopolitics #social #culture #economy #love #life #writerscreed #poetryriot #poeticstories #poems on tumblr #art #ideology #ethics #sociopolitical #nature #environment #light #beauty #popular #march #emotions #apology #meaning

[degenderates]

a note on the gary church. there was no "no trespassing" sign. i walked in unwatched by the dwindling population of the city, and the rotting wood that crunched under my feet was heard by only me. the city's eyes were closed. i felt an immense sadness wash over me as my boots kicked the rubble of what was once the ceiling, what was once a beautiful place of worship now spied only by the cameras that passed through in the hands of travelers who see the beauty of what once was. there was a hallway, a stoned up mantle, an amphitheater, and the great hall of the congregation, the corridors, the graffiti, the broken stained glass, the light in the lens flare. it was grey, and it was cold, and the whole abandoned city was too drudged in its own melancholy to cry.

#read up on the town and it's like. the epitome of the rust belt in all its sociopolitical and interpersonal history... #gary indiana #words #midwestern gothic #urban decay #the rust belt #josiah speaks #mine #might turn this into a poem one day

[i-am-undertheheat]

I am aware of what we're fighting for

that's why it angers me to the core

I'm a voter, not a devotee

stop insulting me with your money

undertheheat

#writing #poets on tumblr #poetry #poems on tumblr #poem #poetscommunity #new poets society #original poem #spilled poetry #short poem #female writers #women writers #writers and readers #sociopolitical #philippine poetry #filipina #filipino poetry #filipino poem #tagalog #writers on tumblr #writerscorner

[haggishlyhagging]

It is a question of finding the right model. We are born into a world in which sexual possibilities are narrowly circumscribed: Cinderella, Snow-white, Sleeping Beauty; O, Claire, Anne; romantic love and marriage; Adam and Eve, the Virgin Mary. These models are the substantive message of this culture—they define psychological sets and patterns of social interaction which, in our adult personae, we live out. We function inside the socioreligious scenario of right and wrong, good and bad, licit and illicit, legal and illegal, all saturated with shame and guilt. We are programmed by the culture as surely as rats are programmed to make the arduous way through the scientist's maze, and that programming operates on every level of choice and action. For example, we have seen how the romantic ethos is related to the way women dress and cosmeticize their bodies and how that behavior regulates the literal physical mobility of women. Take any aspect of behavior and one can find the source of the programmed response in the cultural structure. Western man's obsessive concern with metaphysical and political freedom is almost laughable in this context.

Depth psychologists consider man the center of his world—his psyche is the primary universe which governs, very directly, the secondary universe, distinct from him, of nature; philosophers consider man, in the fragmented, highly overrated part called intellect, the center of the natural world, indeed its only significant member; artists consider man, isolated in his creative function, the center of the creative process, of the canvas, of the poem, an engineer of the culture; politicians consider man, represented by his sociopolitical organization and its armies, the center of whatever planetary power might be relevant and meaningful; religionists consider God a surrogate man, created precisely in man's image, only more so, to be father to the human family. The notion of man as a part of the natural world, integrated into it, in form as distinct (no more so) as the tarantula, in function as important (no more so) as the honey bee or tree, is in eclipse, and that eclipse extends not over a decade, or over a century, but over the whole of written history. The arrogance which informs man's relation with nature (simply, he is superior to it) is precisely the same arrogance which informs his relationship with woman (simply, he is superior to her). Here we see the full equation: woman = carnality = nature. The separation of man from nature, man placing himself over and above it, is directly responsible for the current ecological situation which may lead to the extinction of many forms of life, including human life. Man has treated nature much as he has treated woman: with rape, plunder, violence. The phenomenological world is characterized by its diversity, the complexity and mutuality of its interactions, and man's only chance for survival in that world consists of finding the proper relationship to it.

-Andrea Dworkin, Woman Hating

#andrea dworkin #nature vs culture #male psychology #western civilization #freedom #women as nature

[horizon-verizon]

The idea of women as gentle pacifiers due to their natural moral superiority is straight out of Victorian “the Angel in the House” propaganda.

The phrase “Angel in the House” comes from the title of an immensely popular poem by Coventry Patmore and published in 1854, in which he holds his angel-wife up as a model for all women. The popular Victorian image of the ideal wife/woman came to be "the Angel in the House"; she was expected to be selflessly devoted to her children and submissive to her husband. The Angel was repressed, passive and powerless, meek, charming, kind, graceful despite her suffering, self-sacrificing, pious, and above all, pure. Women must be virtuous, angelic, innocent creatures.

For Virginia Woolf, the repressive ideal of women represented by the Angel in the House was still so potent that she wrote, in 1931, “Killing the Angel in the House was part of the occupation of a woman writer.”

It’s truly insane to see Alicent’s fans regurgating 19th century propaganda in 2023.

I love how Christian angels have gotten this character of innocent, meek submission or powerlessness like that of a child when the original angels--even by being messengers of the Christian God and totally under his power--were so damn powerful on their own that many time humans either went crazy or died of fear and horror from just seeing them. I mean, one of them became the ever-feared Devil.

Angels are only self-sacrificing when its God ordering them to be so, and even then--if we're just talking of them as independent entities and not relating them to how Christian cultures use them symbolically towards women--they cannot die or have souls like humans to be close to God. Have we ever even heard of a dead Angel? They are immortal (until they are destroyed in some modern fiction).

But taking it back to women and angels., this element of angels being helpless and powerless before God is a clear positioning of men being women's "god" and their ultimate sociopolitical authority. Gross.

If you want to learn more about this "women-pacifiers-of-men nonsense, you can take a look at @rhaenyragendereuphoria's reblog/post about it HERE.

#asoiaf asks to me #a song of ice and fire #asoiaf #hotd misogyny #hotd writing #victorian history #english history #hotd comment #house of the dragon #hotd

[grandhotelabyss]

What would be the most underrated of the 'great books' (as in, great novels, philosophical texts, plays, etc. that made it into the Western canon?

I won't speak for the whole West, but as far as English-language literature goes, it must be The Faerie Queene. I'm sure people don't want to hear this because of the poem's length and archaism or even because its author was a would-be genocidaire, and I'm sure other people think this is a Red-Scareish received opinion from everybody's favorite Italian-American lesbian contrarian guru (with whose reading of the poem I disagree, by the way, since she sees it as primarily Classical, and I see it as primarily Gothic). But in my experience if you read The Faerie Queene the whole continuum of British and American poetry and prose romance really does fall into place, and you will begin to understand more about what Milton, Blake, Keats, Hawthorne, Yeats, and more are doing.

It's not that I hadn't read The Faerie Queene at all before I finally finished the whole thing a couple of years ago. Like many an English major, I'd been assigned to read most of Book I in an undergrad survey course. That's a tempting approach because Book I is a self-contained allegorical romance and therefore teaches well, and it's kind of like a fantasy novel. But the more visionary and influential parts come later and are discontinuous, the parts that almost leap from medievalism into Romanticism: the Bower of Bliss, the Garden of Adonis, the Britomart story, the Talus episodes, the Mutabilitie Cantos. A lot of it is tedious and unmemorable, of course—Virginia Woolf's quip that no one has ever read it to the end obtains—but the extraordinary parts are extraordinary. And if sociopolitical relevance is a criterion of value, the questions Spenser poses about sex, gender, and politics remain pressing and unsolved, much as we may dislike his answers.

For anyone who's curious but doesn't want to commit to the entire block-like 1000-page Penguin Classic, I recommend the Norton Critical Edition of Spenser's poetry, which contains the most essential 50% or so of the whole.

(The Italian epic-romances by Ariosto and Tasso that influenced Spenser are probably neglected too, especially in English; I confess I haven't read them.)

#edmund spenser #poetry #english literature

[ausetkmt]

In the last stanzas of the 1926 poem “I, too,” Langston Hughes writes: “Tomorrow, / I’ll be at the table / When company comes. / Nobody’ll dare / Say to me, / ‘Eat in the kitchen,’ / Then. / Besides, / They’ll see how beautiful I am / And be ashamed— / I, too, am America.”

This sentiment remains relevant for Black people today, as K-12 schools continue to grapple with how to best (or even at all) integrate Black history into social studies and language arts curricula. Too often, this essential content is relegated to metaphorically “eat in the kitchen” by only being introduced during Black History Month. The integration of Black history into U.S. core curricula is a missed opportunity in elementary school, a period in young children’s development during which there is boundless potential to nurture their creativity.

As the push to suppress marginalized people’s histories, stories, and lived experiences continues across the country, it has become all the more urgent to preserve, protect, and amplify Black history narratives in schools. Early elementary—grades K through 2—is a particularly fertile time for children to learn about and explore these stories, making elementary educators critical in raising students’ consciousness and working toward racial justice. Moreover, an expansive exploration of Black history in elementary schools can be used to ignite children’s ingenuity and investment in school.

There is no manual or checklist for how elementary schools can eschew a Eurocentric approach to learning. However, to elevate, center, and value Black children’s lives and perspectives, educators must begin with a deep commitment to humanizing, amplifying, and honoring Black history. Elementary teachers must be willing—and trained—to suspend the conventional notions of knowledge building and content mastery, sincerely appreciate the brilliance Black students bring to the classroom, and be willing to continue learning themselves. Only then will schools be able to provide a liberatory education.

Many U.S. elementary teachers and administrators fail to believe in Black children’s intelligence and refuse to center Black histories. Children can be central to curriculum development and implementation—thinking alongside one another and the classroom teacher, uncovering and recounting historical narratives that they find relevant and enriching, and documenting their own voices. They can write poetry, design a textbook, pose a question of concern about their community, and generate a multimodal (audio, visual, and/or written) project that proposes solutions.

Before we meaningfully integrate Black people’s stories and narratives into elementary schools, we must recognize that Black children are themselves knowledge holders and generators. As such, the sociopolitical knowledge Black students already possess should serve as the foundation for facilitating teaching and learning. As naturally inquisitive beings, children can meaningfully inform curriculum and challenge schools to be more equitable.

If provided the opportunity to enact agency in their classrooms, children can take on this role of curriculum shapers, whose perspectives matter for what and how they learn. This opportunity is especially significant for Black children who are engaging Black histories that have traditionally been omitted in schools.

In U.S. schools, Black history is often flattened to focus primarily on enslavement, the civil rights movement, and, more recently, the election of President Barack Obama. Elementary schools tend to elevate the lives of well-known individual Black historical giants like Harriet Tubman, Rosa Parks, and the Rev. Martin Luther King, Jr., while ignoring myriad other Black people—lesser known, unsung heroes—who have worked for racial justice. Furthermore, narratives of oppression, dehumanization, and anti-Blackness take precedence over Black people’s beauty, joy, and intellect.

Elementary curricula should also include concentrated periods of creation within Black communities throughout U.S. history. Teaching about the Harlem Renaissance and the Black Arts Movement of the 1960s and 1970s, for example, can enhance the incomplete Black histories that are predominately taught.

What makes these artistic movements ripe for teaching young children? They are models of times when creative expression—be it literature, visual arts, music, or theater—celebrated the richness of Black life, affirmed the humanity of Black people, and centered Black resistance to white supremacy and Black liberation. Black cultural production across time can serve as a model for imagination, artistic expression, and innovation, as well as racial justice.

We continue to wait for “tomorrow” to be “at the table,” in the words of Langston Hughes. Black children deserve an education that validates their existence and nurtures their sociopolitical sensibilities. They deserve curriculum that fully accounts for the beauty and ingenuity of their ancestors.

As inequity persists and anti-Blackness abounds, early educators must bring Black history and cultural production to the forefront of how Black children make sense of themselves and society in the classroom. In doing so, we can reimagine elementary schools as spaces that sustain Black students’ identities—making those identities the source from which we should derive standards, learning objectives, and lesson plans.

We are not a historically mature society until we acknowledge that everyone’s history matters. In this special collection, a slate of Black history researchers and educators help lead us down that road to historical maturity and LaGarrett J. King offers practical resources for improving Black history instruction.

Wintre Foxworth Johnson is an assistant professor in the department of curriculum, instruction, and special education at the University of Virginia’s School of Education and Human Development. She is a faculty affiliate of the Center for Race and Public Education in the South (CRPES) and Youth-Nex, the university’s Center to Promote Effective Youth Development.

#Black History Belongs in Early Elementary School #Black History #Black History Month

[melody-jellyfish]

y'all we were doing Neruda and did our first romantic poem; usually we do something more sociopolitically relevant.

But there was this line of him kissing her throughout the night and S said she was sure she didn't need to explain it's romantic nature and I swear to fucking god she was making so so much eye contact and smiling and shit idk she was in a good mood.

#tc community #teacher attachment #lesbian tc #teacher crush #tc #female tc #lesbian #tc crush #wlw #lgbtq #tc blog #tc ramblings #tc feelings #tc thoughts

[vympr]

why are you reblogging magazines with the word "negro" on them....

Those are actually vintage magazine covers from Jet, a magazine founded by John H. Johnson, an African American entrepreneur, back in the 1950s! I would recommend reading up on the magazine if you don't know about it already, because it has a rich cultural and sociopolitical history:

Covers in the early years steered risqué—all the better to increase sales and land major advertisers—but the pages inside also documented the Black freedom movement as well as everyday life. In each of his publications, Johnson wanted to emphasize positive stories (distinguishing him from the crusading publishers of African American newspapers), so readers encountered articles about people who ran businesses, raised families, wrote poems and plays, ministered to congregations and to the sick, created artworks, and—as history nudged the publications to a more activist stance, though one careful enough not to alienate advertisers—organized against white supremacy. Importantly, every page was saturated with photography, which ventured far beyond formally composed portraits. The staff photographers of Ebony and Jet captured people in conversation, in motion, and taking up space on their own terms—at work, at home, in joy, and in struggle.

Source

[mybukz]

"My Mother Pattu" by Saras Manickam: Review by Lawrence Pettener

I read three very good books on Malaysian life last year. While Preeta Samarasan and Marc de Faoite’s books hit their sociopolitical targets hard from afar (both authors live in France), Saras Manickam’s short story collection, "My Mother Pattu" is that more difficultly wrought thing, a slab of local honesty.

You get a great sense of the lives of Indian families here —closeness and support along with crippling obligation and control; Manickam pulls no punches. Though Malaysia’s three main population groups are all entangled in these stories’ dramas, Indian Malaysians are more focal, being described as “Ethnic and cultural Indian with a Malaysian operating system and apps”.

These tales are page turners. Rather than relying on being all-action, issues are dealt with sharply yet realistically. "Dey Raju" features arranged marriage and its feuding families, with much of the social realism coming through rich reported speech. The back cover lists the social issues covered, which in many countries would qualify the book’s use for classroom discussion.

That said, the title story "My Mother Pattu" confronts teen motherhood head-on, via a candidly reluctant mother. It is also good on specifics, such as the names of her father’s favorite restaurant and tailor’s shops, which brings us in closer and leaves us wanting more. This story won the Commonwealth short story prize in 2019.

Bio:

Lawrence Pettener is a poet and freelance editor living in Subang Jaya, Malaysia. His reviews and interviews have appeared in Juliet Art Magazine (Italy), Asian Review of Books and The Culture Review. He recently co-edited ‘Salleh Ben Joned: Truth, Beauty, Amok and Belonging’ (Maya Press, Malaysia), and a collection of poems on Malaysian food is due out this year. He’s editing another book for somebody right this minute.

#malaysian literature #malaysian fiction

[afrocentrism-debunked-by-ola]

Afrocentrism // Zionism

It is not a stretch to say that Afrocentrism is another Zionist project. The way the Zionist invasion of Israeli forces is trying to play the victim during the peak of their colonial aggression on Palestine is very similar to the way Afrocentrists are building their arguments.

Both are trying to gain sympathy due to their past in which their ancestors were victims of white colonizers, whether they were enslaved or displaced and burned and starved in the Holocaust.

The believers of both ideologies are trying to claim long ancestry to a land that they are not indigenous to, based on their own beliefs, with no actual evidence. Not only that, they also give themselves the right to dehumanize current Egyptians / Palestinians, accuse them of unreal crimes, falsify their history, and even want to "take their land back". The only difference is that the Israeli occupation is the same Afrocentric project, 100 years later.

In fact, Nadia Alahmed, a Dickinson College researcher, wrote a paper titled "From Black Zionism to Black Nasserism: W.E.B. Du Bois and the Foundations of Black Anti-Zionist Discourse" in which she discusses the vision of Du Bois and his understanding of Afrocentrism. Her conclusion goes as follows:

Du Bois and his vision and understanding of the dimensions of this discourse are invaluable because it is a microcosm of Black thought on the matter going back to the mid-late 19th century. As this article demonstrates, prominent Black nationalists of that era, such as Edward Wilmot Blyden and Martin Delany, saw Zionism as an example for growing their own successful immigration movement. Their writings on the matter informed Du Bois’ understanding of the movement, which helped shape his Pan-African thought to align with Zionism to seek allyship among the global Jewish diaspora. To an extent, the parallels between Zionism, Pan-Africanism, and Black nationalism were strengthened by Black Orientalism and Islamophobia, as discussed above. The major landmark that transformed Du Bois’ thinking, thus shifting Black discourse on Zionism, was the Suez Canal crisis of 1956 and the rise of Gamal Abdel Nasser as a Pan-African symbol, a power to resist Western neo-colonial domination and ensure the liberation of the global Black diaspora. Du Bois’ understanding of Israel articulated in his poem ‘Suez’ became the pillar of Black antiZionist discourse popularized and maintained by radicals such as Malcolm X and the Black Power Movement. This in turn inspired Black feminists such as Alice Walker and June Jordan to continue to support the Palestinians in the 1980s and 1990s and rise again in the words and manifestos of the Black Lives Matter movement today. Despite this, the connections between Black America and Palestine/Israel remain an underexamined topic. More research about Black discourse on Zionism and Palestine before the creation of the state of Israel in 1948 is needed for a better understanding of how sociopolitical and cultural contexts influence its articulation over time.

Reference

Alahmed, N. (2023). From Black Zionism to Black Nasserism: W.E.B. Du Bois and the Foundations of Black Anti-Zionist Discourse. Critical Sociology, 49(6), 1053-1064. https://doi.org/10.1177/08969205231173440

[spaciouswarren]

i liked the fog still. i trudge thru a shift, a poetry slam in the background i really hate that shit i think. it’s really just a political correctness contest, no truly i mean that; their main mode is one of righteous grandstanding on a meager platform built from the “right” (in this case tepidly “left”) sociopolitical stances, injecting anecdotal claims into what ultimately amount to boring-rhythmed rants.

of course poetry to me is something dirtier, mysteriouser. the abstract devouring the personal but spitting it back out and licking it back up, leaking sweat over the mostly unheard page. of course i didn’t hear every poem. i can maybe respect, for a second, the impassioned recitals, but that is also the most cringe part of each performance. and of course it’s that: performance. maybe i just want to hear something different, something beyond “this religious institution fucked me” “this capitalist hellscapse” “the lack of human rights here or there,” and trust me it doesn’t get much “deeper” than this mocking reduction i’ve spat.

though of course, this critique comes from a place, a person nearly void of political convictions. i guess i could nod along with almost any policy or decree that decreases suffering for myself and others, but i also know that nothing’s that simple; suffering is almost always displaced, never disappearing completely. yeah that’s a narrow estimation. i’m saying i’m jaded. i’m saying i’m tired and upset too. maybe i’m a coward.

of course poetry to me needs style. maybe not grace, but Style, not just any style, for isn’t content inseparable from and synonymous with style? but an augmented Style which is elusive and not a monolith but i know what i like and what likes me and we suck in the fog even if it’s smog, and our energy is miscreant, but also aims at breathing in some semblance of the celestial, even when we’re foaming at the mouth & soiling the trouser.

i might not like or write poetry. maybe i just ride the bus and drink beer and beguile the going time.

#grindcore #slam poetry #dogshit #winter break #kwngu

[bryanos12]

Analytical Approach to Denny Ja’s Selected Work 50: “Don’t Cry Palestine”

In commemoration of the golden age of Karyakarya elected Denny Ja, one of the authors, writers and Indonesian activists known for his sensitivity to social and political issues, one of the works that attract attention is the essay poem entitled “Don’t Cry Palestine”. This essay poem not only succeeded in attracting the attention of the Indonesian people, but also gave an in -depth analytical approach to the conflict that occurred in Palestine.    In this essay poem, Denny JA carefully raised the developing political and social issues in Palestine. He highlighted a complex and diverse situation in the conflict through an analytical perspective. Denny JA’s analytical approach in “Don’t Cry Palestine” provides a deeper understanding of conflicts that have been raging for years in the region.    One interesting analytical approach in this essay poem is a sociopolitical analysis of the root of conflict problems in Palestine. Denny JA carefully discussed the history and political context that became the background of the conflict. He discussed the history of occupation, regional conflict, and the complexity of relations between Israel and Palestine. In his analysis, Denny Ja also explored deeper about the role of international actors in this conflict, giving a broader perspective to the reader.    In addition, Denny Ja also provides an analytical approach to the impact of conflict on the Palestinian community. He discussed the psychological, economic and social impacts experienced by the Palestinian community due to protracted conflicts. In this analysis, Denny Ja highlighted the great losses suffered by civilians, including loss of lives, refugees, and in -depth trauma.    The Analytical Approach to Denny also involves criticism of the policies and actions of the Israeli government which is considered a factor that confirms conflict. Denny Ja sharply criticized human rights violations committed by the Israeli government, such as the construction of illegal settlements, limiting movements, and oppression of Palestinians. Through an analytical approach, Denny Ja gave a deep insight to the reader about how Israel’s government policies influenced conflict in Palestine.    Denny Ja’s analytical approach in “don’t cry Palestine” also includes thinking about possible solutions to end the conflict. Denny Ja gave a view of the importance of dialogue and negotiations between Israel and Palestine, as well as the role of the international community in achieving sustainable peace. He also offered thoughts about the need for global support to fight for the rights of the Palestinian people.    Through his selected work entitled “Don’t Cry Palestine”, Denny Ja has presented an in -depth analytical approach to the conflict in Palestine. This essay poem expands our understanding of the conflict itself, provides insight into the root of the problem, its impact on society, as well as thinking about possible solutions. Denny Ja’s analytical approach in his work not only provides a clear picture, but also inspires readers to better understand the complexity of conflict and critical thinking of existing global issues.    In dealing with complex conflicts such as in Palestine, the analytical approach as carried by Denny Ja in “Don’t Cry Palestine” is very important.

Check more: Analytical Approach to Denny Ja’s selected work to 50: “Don’t Cry Palestine”

[inparenth]

"Post-Racial Decorating" and other Poems by C. A. Smith

Carol A. Smith is an MFA candidate at Arcadia University. She writes personal and sociopolitical poems, often reflecting upon the intersections of the two. Her work has appeared or is forthcoming in The Last Stanza and Radical Teacher. Carol resides in So

Carol A. Smith is an MFA candidate at Arcadia University. She writes personal and sociopolitical poems, often reflecting upon the intersections of the two. Her work has appeared or is forthcoming in The Last Stanza and Radical Teacher. Carol resides in Southern New Jersey, where she teaches college composition Post-Racial Decorating The antiracist journeyfills freshly dusted wooden shelveswith…

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#volume 8

[norhansali]

POEM THTA DESCRIBES PHILIPPINE LITERATURE

The actvism period historical perspective the beginnings of action the penmanship revolution writings during the activism period the time when bloody placards were used.

Ponciano pineda claims that from 1970 to 1972,youth activism increased was brought about by both local and global factors. There is a connection between the background of our young filipinos.

The youth compelled to seek reform as a result of social issues some still head to the view the democratic government is stable and that the only culprits are those incharge.

Some people thought democracy should be rrplaced with socialism or communism,in order to overthrow the democratic form of government,some armed groups were created.

philippine literature reflects a diverse or groupof works which is mostly grounded on traditional folktales,sociopolitical histories and real lufe experiences.