‘The Quarrel with Ourselves’. An Interview with Marjorie Perloff

Interview

Giving Presence to the Present

Section Introduction

Parragirls Past, Present: Unlocking Memories of Institutional ‘Care’: Witnessing and Creative Reparation in the Aftermath of Parramatta Girls Home

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Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art

Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.

Poetics/Documents/Justice A conversation featuring Susan Briante, Philip Metres, M. NourbeSe Philip, and Craig Santos-Perez

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What Testimony Does to Literature

This article sheds light on a literary practice that critics began to reflect upon in the twentieth century: witnessing. This genre, by adopting a narrative model based on statements of evidence presented in the courtroom, distinguishes itself from other forms of expression practiced by witnesses. Survivors of political violence take up their pens and describe the situation they have been subjected to, so as to attest to historical facts and prevent erasure of the event through forgetting, denial or negation. This enterprise, which seeks to document lived experience and thereby pay homage to victims who did not survive, constitutes both a source of evidence for legal procedure and a contribution to the writing of history. Witnessing, however literary it may be, is founded on a pact of veracity, in which witnesses are bound to relate no more than their own experience and to do so with precision. Finally, witness accounts are addressed to society at large or even to humanity as a whole, in the hope of emancipating it from such violence by raising awareness of its intolerable nature. Though witnessing still lacks legitimacy within the literary field, the link it establishes between ethical, aesthetic and political positions makes this genre exemplary of what literature is capable of.

Art’s political criticality: At the thresholds of difference and eventuality

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Can Trauma be Told? Juridical Discourse and Affect in Vanessa Place’s Statement of Facts

A poet and an appellate criminal defence attorney specialising in sex crimes, Vanessa Place reproduces the evidence of rape crimes presented during trials in Statement of Facts (2010). At the heart of these trials lies a trauma that legal language seeks to convey. Drawing on Jean-François Lyotard’s concepts of the differend (différend) and litigation, I ask if the documentary poem represents the traumatic event or if it simply reproduces legal language. I propose that the discourse of the law fails to account for trauma because of a mismatch between the forms of language required to establish facts in a court of law and the traumatic event itself. Yet, the transformation of this language into a poem makes it possible to indicate this mismatch while at the same time bringing the unspeakable violence of the traumatic experience to the surface of the text as read by the poet.

Rebalancing the extra-judicial scales: Documentary aesthetics and the legacy of the Central Park Five

The Central Park jogger case has returned to news headlines with the 2019 Netflix mini-series When They See Us, a dramatised account of the original trials. It has reignited debate over the injustices faced by the Black community in the United States, and led to lawsuits and job resignations on the part of former police investigators and prosecutors. Since the case’s inception, issues of race, media reporting, economics, and the identity of New York City have influenced the trial and its aftermath and have inspired documentaries, books, and the landmark 1990 essay “Sentimental Journeys” by Joan Didion. In this article, I argue that the creators of two of these works, by testing the boundaries of narrative, demonstrate that the case was inexorably tainted by a pervasive feeling of social precarity and racial prejudice which cost five young men several years of their lives, and offer a productive line of enquiry for acknowledging such factors and their influence, if not resolving them.

Contributors

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