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@fundgruber / fundgruber.tumblr.com

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The indigenous worker sees the migrant in an ’inferior’ position, and what he sees and hears emphasizes how the migrant is different. Different to the point of being unknowable. Imperceptibly - there is no moment of decision - the two characteristics fuse. From being unknowable the migrant comes to be seen as being beneath understanding: as being intrinsically unpredictable, disorganized, feckless, devious. And then the inverted commas around inferior disappear: what has become the migrant’s intrinsic inferiority is now expressed in his inferior status. What he is paid to do reflects what he is. The fusion has occurred. [...] The principle of equality is the revolutionary principle, not only because it challenges hierarchies, but because it asserts that all men are equally whole. And the converse is just as true: to accept inequality as natural is to become fragmented, is to see oneself as no more than the sum of a set of capacities and needs. The above argument may show why the working class, if it accepts the natural inferiority of the migrants, is likely to reduce its own demands to economic ones, to fragment itself and to lose its own political identify.

John Berger, The Seventh Man (1975), p. 253ff. https://web.archive.org/web/20160805000323/http://abahlali.org/files/John%20Berger,%20Extract%20from%20A%20Seventh%20Man,%20Race%20&%20Class,%201975.pdf

"In 1972, John Berger won the Booker Prize, donating half to the British Black Panthers and using the rest to create A Seventh Man with Jean Mohr. This genre-defying book tells migrant workers’ stories through independent words and images. Nearly 50 years on, it remains a vital call for solidarity." Chunkingbooks

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"In 1814, Ivan Krylov (1769–1844), poet and fabulist, wrote a fable entitled "The Inquisitive Man", which tells of a man who goes to a museum and notices all sorts of tiny things, but fails to notice an elephant. The phrase became proverbial. Fyodor Dostoevsky in his novel Demons wrote, 'Belinsky was just like Krylov's Inquisitive Man, who didn't notice the elephant in the museum….'" https://en.wikipedia.org/wiki/Elephant_in_the_room

Source: google.de
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[Sean] Bonney’s theory of collective language […] seeks […] to channel radical agrarian voices into the present. His method is informed by the folk tradition of ‘cuckoo song’, which Bonney refers to in the epigraph of the first ‘set’ of The Commons (2011), a quotation from the 1929 Clarence Ashley song ‘The Coo-coo Bird’: ‘the cuckoo is a pretty bird, / she warbles as she flies’ [p. 1]. […] In a note at the end of Letters Against the Firmament (2015), which collects part of The Commons, Bonney clarifies the ‘cuckoo song’ as method: unacknowledged quotations should be read as a part of the common language of oppositional song, in which ‘the singer will intersperse their own lyrics alongside whatever fragments of other songs happen to come to mind, thus creating a tapestry or collage in which the “lyric I” loses its privatised being, and instead becomes a collective, an oppositional collective, spreading backwards and forward through known and unknown time’ [p. 144]. The resources of folk and song traditions belong to no-one and cannot be owned, retaining an uncanny, out-of-time charge. Across Bonney’s Commons traditional song erupts into the present through repeated, interpolated fragments of folk lyrics such as ‘black is the colour of my’, ‘cold blows the wind’, ‘as I was out walking’ and Leadbelly’s ‘Gallows Pole’ [pp. 13, 22, 28, 49]. Songs can be, Bonney writes in Letters Against the Firmament [2015], ‘receptacles of a revolutionary moment that was never realised’ [p. 35]. […] Twisting the folk method of cuckoo song in this way led Bonney to the elaboration of a transhistorical poetics and prosody, through whose ‘ghost escapes’ the language of the dead ruptures the surface of the present.

Daniel Eltringham, Poetry & Commons: Postwar and Romantic Lyric in Times of Enclosure (Liverpool University Press, 2022), pp. 190–1.

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“ich habe versucht die langjährige liebe und auch den langjährigen sozialen kontakt über andere menschen zu den naturwissenschaften zu verbinden mit literatur. aber ich war da einfach eine niete vor 20 jahren. als ich mit den sachen angefangen habe, hieß es noch das ist dummes zeug, das finden wir deshalb schrecklich. jetzt heißt es, das ist dummes zeug, das finden wir deshalb großartig und es wäre schön wenn es sich durchsetzen würde. und dann habe ich eines tages abgelehnt einen artikel für die jungle world zu schreiben. ich habe nämlich eine mail geschrieben an ja ich glaube es war sogar tobias rapp der heute beim spiegel ist. er wollte von mir was haben gegen botho strauß und ich habe ihm eine e mail geschrieben eines samstag nachmittags warum ich diesen artikel nicht schreiben möchte weil das irgend wie alles gar nicht geht und keinen sinn hat und diese e mail hat er zu einem artikel erklärt und abgedruckt. und diesen artikel hat florian illies gelesen, damals redakteur bei den berliner seiten der faz und hat sich bei mir gemeldet, hat gesagt er möchte auch solche artikel haben, was ja gar kein artikel war. und lange rede, ein halbes jahr später saß ich in frankfurt und sollte redakteur werden und zwar zunächst für den wissenschaftsteil. dann war ich aber durch ein versehen einen monat zu früh, da es gab noch gar keine sonntagszeitung. und was macht man mit jemand, naja wenn er bezahlt wird, irgendwas tun sollte er möglichst schon. dann saß ich halt so lange im feuilleton und da gab es, weil es eine neue seite, diese schluss seite damals, bedarf an jemandem der sich um bestimmte dinge kümmert und hieß es, ja das kannste ja mal nen monat machen und daraus wurden dann sieben jahre”

Dietmar Dath im Gespräch mit Thomas Grimm (Zeitzeugen TV) 2014

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Poster explaining how to cut open pages of a book ('Not with your finger, Not with a pen, With a knife'), USSR, 1929.

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