This is a thoughtful question built upon a really generous reading. SRB: If I’ve learned anything from the Stop Kony campaign that ravaged my college campus in 2011, it’s that raising awareness is a dead end, unless you’re providing sexual education information sessions as a part of a network of health clinics serving marginalized communities who’ve been neglected by fruitless policy asking for people to abstain from rubbing their parts together in ways that feel nice. This nobody has any right to but himself.” ( Second Treatise of Government)-to a tape recorder’s cassette that owns whatever the voice distributes, said in a city with a predominantly Navajo population, is layered in irony and historic wrongdoing, both drawn to the section’s closing sentence, “ Reparative justice is the name and seizing the means of production is the game.” What aspects of Thousands. The benefits of speaking directly into a tape recorder with no regard for premeditated thought.” The proximity of Locke-who said “Every man has a property in his own person. Rivera raises our awareness of “The frailty of John Locke’s defense of private property. JR: “Demographics” finds the protagonist Guadalupe Rivera at a Tuba City saloon where she “ and about the legacy of John Collier’s Indian Reorganization Act” intended to give indigenous persons greater self-governing autonomy. Reading Arendt’s dispatches, or about Operation Paperclip, is clarifying. People have a harder time rationalizing, fitting it into their worldview. The covert testing of the effects of radiation on American civilian populations, meanwhile, seems to strike people as especially capricious, anecdotally at least. Hoover and those of his stratum were willing to do this in order to maintain their power. into committing suicide in order to undermine the codification of racial equality in the law. Like, the FBI infiltrated the civil rights movement through COINTELPRO, bombing churches and assassinating community leaders like Fred Hampton and attempting to blackmail MLK Jr. Each of these forms of documentation is individually inadequate in providing proof (whatever that means, at this moment in human history) of the conspiracy, and their assemblage into a coherent narrative is troubled by the lack of apparent motivation. Applying for financial aid or demonstrating the work requirement for SNAP is just the tip of the iceberg (now lost to climate change and commemorated with a plaque and eulogy by Icelandic scientists). In any case, we live in a world subsumed by documentation. So I’m knowingly nodding to your characterization of the experience of the text through the extended metaphor of literary chamber music, provided there are no follow-up questions (if so, I’m sorry to inform you that I have no choice but to abandon this interview, and perhaps literary production as well). Samuel Rafael Barber: I’ve been sufficiently lucky to often find myself surrounded by artists like yourself, Jon, who enter into the literary realm with sophisticated understandings of how music operates, conceptually. How did you go about orchestrating such elements as mortality statistics, tourism, voicemail, and investigative journalism? Each section-whether a three-page quest to procure the yearbook affiliations of an arsonist or a four-line message from the Social Security Administration-offers an annotator’s trove whose logos harmonizes with ethos, producing literary chamber music, pathos the bass notes that keep our engagement on-key. Some of my marginalia for your work includes: disease rates Greta bed & breakfast rumor/lore newspaper reporter clandestiny collective bargaining and Frackenpohl, which sounds traumatic to the earth but in reality is a recently deceased composer who wrote the Concertino for Tuba and Strings, low brass on the brain as Thousands. Congratulations on being among such catalogue-mates as Christopher Shipman, Lily Hoang, and Kelsie Hahn. Jon Riccio: I was thrilled to learn of your chapbook Thousands of Shredded Scraps of Paper Located Across Five Landfills, That if Pieced Together Form a Message, published as Volume 40 of The Cupboard Pamphlet, edited by Todd Seabrook and Kelly Dulaney.

Clandestiny meaning