In 2007, a 17-year-old girl called Cora Fletcher was charged with retail theft. Over a year later, after she missed a court date, she was sent to the Cook County jail, in Illinois. She was eight months pregnant at the time.
During a pre-natal check-up at the facility, her baby appeared to have no heartbeat, so she was sent to the county hospital. As the medical team tried to induce her, Fletcher claims that both her hands and both her feet were shackled to either side of the bed. Only when she finally went into labor, three days later, was one hand and one foot released. It’s hard to imagine a more crucifying way to force a woman to try to give birth.
Sadly for Fletcher, there was no payoff for the trauma and humiliation she was forced to endure, as her baby was born dead.
Read the rest here
The “civilized world.”
More than 400 of the permanent sculptures have been installed in recent months in the National Marine Park of Cancún, Isla Mujeres, and Punta Nizuc as part of a major artwork called “The Silent Evolution.” The installation is the first endeavor of a new underwater museum called MUSA, or Museo Subacuático de Arte.read the whole article at http://legazpifabmoda.blogspot.com/2011/03/bodies-fill-underwater-sculpture-park.html
This is fucking beautiful.
“You might as well be dead. Seriously, if you always put limits on what you can do, physically or anything else, it’ll spread over into the rest of your life. It’ll spread into your work, into your morality, into your entire being. There are no limits. There are plateaus, but you must not stay there, you must go beyond them. If it kills you, it kills you. A man must constantly exceed his level.”
- Bruce Lee
Her songs are still extremely autobiographical, which is perhaps their charm. Following in the footsteps of other singer-songwriters, especially women who emerged in the early ’90s and expressed their emotions in particularly vulnerable ways, Apple’s openness has always had an empowering appeal. Her songs seem to suggest that feeling a variety of emotions—sadness, glee, despair, insanity—is not only normal, but, like those self-reflective musicians before her, she also gives permission to her listeners to feel the same way.
Even for Apple, her older songs are relics of another time, and she now makes them applicable to her life in the present. “They all kind of become poems after a while,” she says. “You can take your own meaning out of them. It’s been a very long time [since my first albums], and I can apply those songs to other situations that are more current in my life.” She admits she has changed greatly since she started writing songs in her late teenage years, especially when it comes to how she portrays herself. “I don’t feel comfortable singing the songs that I wrote. I used to blame other people and not take responsibility. I thought I was a total victim trying to look strong.”
And she is much harder on herself in the songs on The Idler Wheel than she ever was before. Sure, she admitted to being “careless with a delicate man” in “Criminal,” arguably her most famous song, and in When the Pawn’s“Mistake” she sang, “Do I wanna do right, of course but / Do I really wanna feel I’m forced to / Answer you, hell no.” On The Idler Wheel, Apple examines her own solitude and neuroses as well as their effect on her relationships with others. “I can love the same man, in the same bed, in the same city,” she sings on “Left Alone,” “But not in the same room, it’s a pity.” On “Jonathan,” a somber love song layered with robotic, mechanical sounds that’s presumably about her ex-boyfriend, author and Bored to Death creator Jonathan Ames, she urges, “Don’t make me explain / Just tolerate my little fist / Tugging at your forest-chest / I don’t want to talk about anything.”
Read more of my profile of Fiona Apple right here! I’m really proud of this one.
“conceptual poetry is poetry pregnant with thought” by charles bernstein