Download Zong! Drafted By M. NourbeSe Philip Hardcover

may be closer to,simply because it was an exhausting readwhich I absolutely think was by design, but somewhere during Ferrum it became very difficult to keep reading, and more due to the way in which it was written than the content.
I had gone with a 'read every word and make sense of it' approach, which was rewarding because there were so many small pockets of phrases and meaning that I would have missed otherwise, but it also was a very taxing task.
So most of Ferrum onward got a much less close read, Philip uses repetition to, for the most part, great effect, but sometimes it feels 'done' or amateurish there were times when I thought 'I wrote very similar things in undergrad' about certain techniques and passages, and I don't think that's a compliment to Philip.
I will say that I thought there was an overemphasis on Romance languages that didn't make sense in context and that felt like a bit of an easy shortcut.
Oh, and there really could have been moresomethingANYTHINGpaid to the use of the 'coauthor' Setaey Adamu Boateng.
On the whole, though, I think this is a very important work, and I cannot imagine what it would have been like Philip to undergo writing it and indeed she writes a bit about the pain of it in the Notanda.
I do appreciate how the antinarrative mirrors the strained piecingtogether of the senseless Zong tragedy, However, I did not enjoy reading it that much, this was probably the most confusing book i've ever read, but like. i get why.
"to not tell the story that must be told" This book is incredible in concept, but it is quite apparent that its author is a lawyer, as it is a bit longwinded.
Would adore it more if it were cut in half, Nevertheless it remains a beautiful testament to language, ancestry, and pain,

I like the idea that the author plays with, that readings like this put us all, no matter our language, on an equal playing field akin to preliteracy.
It's beautiful. ONLY READ SOME EXCERPTS FOR UNI,
Terrible story of the death of the enslaved on board of Zong explained through the words used on its trial.
It was difficult to read it on my own since I was not paying attention to the fact that versetoverse silences were not optional but mandatory it was complicated as well because I was trying to understand the poem, not feeling it.
I must admit the greater hardship was the form itself, but once I understood why it has it, the poems made a lot more sense, and I could connect more with what the writer was conveying.
The last time I read a lawyer turned writer who happened to be a woman, others saw heterosexual romance where I saw power.
What, I wonder, will the sheep make of this,

So, in postRenaissance/Enlightenment/Humanism in the European spigot of things, we got: slavery rape colonization bunch of thought stolen from Islamic Empire thinkers that sometimes were partially colonized Iranian thinkers bunch more stolen from Indian/Chinese/other nations of nonwhite thinkers running through their own frames of colonization the gynophobic side of Christianity in contrast to the Orthodox/Coptic/"Eastern" brainwashing white supremacy and this.
The last didn't just pop out of thin air, It took real effort of language and philosophy and social indoctrination to train entire civilizations to speak simultaneously of liberty and property in regards to the optimum state of human beings.
Judging by the state of Darren Wilson and white people shooting black protestors while cops stand on by in this country, this stuff was built strong, and this shit will last, so long as a single individual considers themselves or is considered by this world to be white.
You can't exist under a social label formulated for the supreme purpose for rendering humanity null and void on the basis of anitblackness, and then turn around and say you're not racist.
You can't say you're not winning by any means necessary when you are and have been and will do so as long as you are able by the means of your ancestors and what you teach your progeny.


You're just going to have to sit down and read this if you want any sense at all of what's going on.
I can't type it out for you for reasons of formatting and strategies of reading, my method of emulsifying these words in suspension being different from yours being different from yours being different from yours being different from that magical unicorn people like to call the universal.
Not to mention the text: fourteen total languages and half of them nonEuropean inpages of vernacular of the death rattle of the drowned and the drowning.
People have argued about whether this black woman, former lawyer and current experimental poet, hailing from Trinidad and Tobago and thus having a far greater chance of being related to those considered cargo on the Zong than the majority of the world, has the right to write this.
I say, if you're so worried about appropriated representation, you can do a lot better in terms of size of target.
Stein, for example. Or Faulkner. And that's just the blackface side of classical lit,

If you think reading this is difficult, try listening to Philips herself read out "Zong".
Memento mori. The ways in which those others went first, and how forgetting won't stop them from coming back.
Such an amazing endeavor and a beautiful collection, I found it helpful to read her notes at the end first, as an introduction to her process.
Right now I'm feeling it's one of the best books of poetry I've ever read, I actually can't think of anything that's blown me away, page by page, to the same degree.
. . One of the most important and sacred books I've come across, Thank you to the person who told me I must read this book, This is not a book I want to rate, Here is what I can say,

"It is a story that cannot be told a story that in not telling must tell itself.
"

There are names she finds and truths that the language of the law cannot hold.


Different languages hide in the same words or letters,

"The oba sobs, "

The first movements are primers for deciphering "Ferrum" finding its logic of enunciation and moments where the poetry sparks.


Ebora water spirits the words cannot be deciphered in parts when everything is under water.


The work at hand is exaqua,

It's a visual fugue of loss, WOW. One I let wash over me more than anything, aside from the end essay, At times dipping in to exact words, at times letting the patterns wash over me, with a sense of waves, thrashing and overpowering.
Either way, devastating. Zong! Is a collection of poems reflecting the harsh realities of the transAtlantic slave trade, pushing readers to confront the atrocities of the trade.
It is soulful, poignant, heartbreaking, and beautiful, There is a legal document where judges analyze a question about insurance claims, In the language of the law, it tells about a ship called the Zong, which carried a 'cargo' of enslaved human beings.
The inexperienced captain got them all lost at sea and before they reached land they threwpeople overboard.
Once he got back home, he asked the insurance company to pay for the loss of his 'cargo.
'

In two pages, the justices deliberate the case, It is not a murder case, It's an insurance question. This is the only historical document that reveals what happened on the Zong, but it more actively conceals than reveals.
Actively erases the lives of enslaved people, obscures the mass kidnapping, mass rape, and mass murder at the core of the story.


What does this say about law This document has been on my mind as the murderers of black people continue to be found innocent by the court system.
As families are separated at the border, and screaming children are dragged to their own kiddie jails.
These institutions of police and courts and borders and prisons: how they repeat their cold words of law to try to guide our gaze away from the horror of their violence.
How 'reasonable' moderates nod along with those cold words, find security in them,

A line from TaNehisi Coates: "The mettle that it takes to look away from the horror of our prison system, from police forces transformed into armies, from the long war against the black body, is not forged overnight.
This is the practiced habit of jabbing out one's eyes and forgetting the work of one's hands.
"

Zong is "a story which can't be told which must be told," writes M.
NourbeSe Philip. She untells it through the words of the legal document itself, which she excises and unravels into poetry that hints at the agony and horror papered over by the law.


It is an astonishing and brilliant endeavor, It is also extremely difficult to read, Not only because of the subject matter, but also just logistically, with words in many different languages broken up across the page, evading any narrative throughline.
The earlier sections are completely haunting, but the later ones grow more complex and difficult, and I found myself engaging more with Philip's explanatory essay at the back than the poetry itself.
.In November,, the captain of the slave ship Zong ordered that someAfricans be murdered by drowning so that the ship's owners could collect insurance monies.
Relying entirely on the words of the legal decision Gregson v, Gilbertthe only extant public document related to the massacre of these African slavesZong! tells the story that cannot be told yet must be told.
Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text, Memory, history, and law collide and metamorphose into the poetics of the fragment, Through the innovative use of fugal and counterpointed repetition, Zong! becomes an antinarrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.
Check for the online

reader's companion at http/zong, site. wesleyan. edu. Echt geweldig hoe wordt omgesprongen met heel gevoelige materie en problemen en op wat voor een prachtige manier gebeurt het! Talen door elkaar heen en heel mooie woordspelingen.
Dikke aanrader! Com muito esforço consegui terminar esse livro no Dia da Consciência Negra.

Esforço porque é o livro mais difícil que li na vida e tive que lêlo aos pouquinhos devido ao cansaço que me dava, o li sóbria, o li com vinho, mas nada arrefecia sua dificuldade.

Tal dificuldade não se devia apenas ao experimentalismo da linguagem que segue os revezes do contraponto musical, com idas e vindas com quebras de palavras e sintaxe, mas ver o reflexo histórico desse desespero linguístico na saga do navio Zong do século XVIII, em que centenas de escravos foram atirados ao mar por ser mais lucrativo do que leválos ao seu destino.

Todos esses espaços e quebras são silêncios e falta de ar dos que morreram naquele navio, transposto em forma de linguagem de maneira tão brilhante que não me resta nada mais do que ir em busca dos outros livros de Marlene NourbeSe Philip.

Se a autora levou quase dez anos para escrever tal épico, quem sou eu para reclamar da dificuldade de lêlo O que resta é apenas seu brilhantismo.
.