Jamuna Shrestha

I may or may not stalk other Nepalis. When I see a racially ambiguous brown person with a South Asian name or hear the slightest hint of a Nepali accent, my mental gears start turning. I don’t always say hi, sometimes I just sit nearby and hear the soft hum of Nepali families in action.

Nicole Shaffer

Nicole and I sit in her art studio. Or rather we lay together on one of their works in progress -- a piece she conceives of as a “bench” at the moment, covered in light pink carpet with a large, central crystalline gape lined with sharp pink halite clusters. We have to adjust our bodies to lay on our sides around the bubbling, cubic, pink hole between us. So much like a cunt I’m simultaneously turned on and aware I’m being tugged into an undercurrent of material seduction.

Andrew Wilson

Andrew Wilson is rolling a blunt on live television. Tonight’s the opening reception for the group show Forever, a Moment: Black Meditations on Time and Space at San Francisco’s SOMArts, and the dorm-sized Zenith rests atop the middle of several stands, each holding a copy of Wilson’s loose leaf poetry…

Keep Swimming

The task at hand is absurd—an entire forest needs to be dismantled, the bulk of three towns. We watch the quiet human forms in white hazmat suits, masks obscuring their faces, bent over their work filling ridiculously tiny white plastic bags with debris, sealed up with heavy blue tape laid out in rows. They are working near a small white tent with the word “asbestos'“ on it and move so deliberately through the ash that they appear to be studying the dangerous inflammable objects they have been sent to retrieve.

A Conversation between Jerónimo Rüedi & Kit Schluter

“We wanted to see what would happen if there was a space in the city that wasn't trying to sell you anything. The idea was to rent a private space and make it public. And to put our private book collections there, and make them public, too. This might end up sounding like Marxist propaganda, but we thought, and we still think, that the people need spaces that exist on the margins of capitalist logic. [Raises fist in the air, like a good Communist.]”

Selected Stories by Robert Walser

I write to you from the land of Walser’s Selected Stories. The edition with the Susan Sontag forward, and the man-standing-alone-with-umbrella bad cover. Everybody, including Sontag, says Walser’s at his best with his stories. I reread Jakob Von Gunten, Walser’s most famous novel, just to be sure, and have found that everybody is correct. The stories are the masterpieces.

Barbara Browning + j.j. Mull

I haven’t received your letter, so this one will cross it in the mail. You’d suggested such a possibility yourself, which I liked—like two people speaking to each other at the same time without being able to hear each other, but maybe later it will sound like a conversation.

Emerson Whitney + Claire Boyle

I used to be really proud of the flaming chili pepper on ratemyteacher.com from a while ago. And, also really proud of the fact that on ratemyteacher.com, nobody knows my pronouns, which is hysterical in that format because the entries somehow alternate pronouns one after the other. Which I now find completely amusing.

Claire Buss + Hannah Kingsley-Ma

An important thing to me is intention even when we’re doing a bit that is aggressively stupid. I don’t like things that are weird just for weird sake, or like some Burning Man shit. I want everything we do to have a reason for being there. Some of the more outlandish things we’ve done include: trapping our contestants in a micro-studio built live on stage, an elaborate flashback narrative that involved a 1950s set sitting on top of our regular set, a high school drumline surprising the audience with a very long digression, a too-long ode to Las Vegas, and unleashing a wet dog to run through the audience.

Yosefa Raz + Leora Fridman

The ecstatic is another theme I see consistently in your work, along with the disappointment involved in existing alongside the search for the ecstatic. I see in your work something I connect to other poets of Occupy Oakland: a piling-on, a constant over-fullness, a desire for complete inclusion of experience, specifically including mess.

Julio Linares + Sophia Dahlin

You bring so much gusto to everything, Julio, as if you were totally unafraid, but your art makes me think that you live in a world that vibrates with danger. And to choose to make art, each time, is difficult enough. How do you bring yourself to grab your paintbrush, that snake-birthing snake? Does it scare you?

Davey Davis + Andrea Abi-Karam

I’ve long been drawn to the epistolary exchange between writers. Before I was involved in any sort of creative community, I turned to these exchanges with an urgent desire to know what it was like to be a part of a network of people thinking, writing, & fucking. The unarchived moments of what precedes the published book, the historic performance, what were they thinking about & what were they wearing.

Thanh Hằng Phạm + Jeannine Ventura

I feel some deep shifts happening as well as a need to keep going. I’m thinking about what it takes for us to connect deeply to ourselves, be our very most and help our friends, family and community to be their very most without being sucked up in capitalist and ableist ideas around “proving yourself/productivity.”