Bossip Re-Mediations II


In my quest in trying to revive Bossip project I want to approach text from a more critical aesthetical standpoint. If given the opportunity to collaborate with a program coder how would text as it is become radically transformed? And in what ways can I advance/challenge the standardized mode of e-literature? What would be the physical characteristics of this work? What are the larger themes am I really getting at?

I am interested in tackling these things within work:

    • Linguistic ministresly more so than traditional black-face
    • Code switching
    • Black humor
    • Collage (poems are inherently multivocal / it is already divided by gender lines (man vs woman) how can I further collapse or actually aggravate these two oppositional voices more so that tensions are visibly seen? How can I embody these spatial, temporal and tonal differences from a pure lexical vantage point?)
    • Non-seriality (composing these ragged stereotypes/ they don’t fit neatly on top of one another/ each has its own unique spin/ possibly looking to see if each typecast has its own genealogy?? Not sure as yet)
    • Black geography (how would these digital landscapes possibly look like? And how would they interact inside these white spaces?)

Future References so far…:

Wilcox, J. (2007). Black Power: Ministrelsy and Electricity in Ralph Ellison’s Invisible Man. Callaloo, 30(4), 987 – 1009

Kartsaki, Eirini (2016). On Repetition: Writing, Performance & Art. Chicago IL: Intellectual, Ltd.

McKittrick, K. (2000). Black and Cause I’m Black I’m Blue: Transverse Racial Transverse Racial Geographies in Toni Morrison’s the Bluest Eye. Gender, Place & Culture: A Journal of Feminist Geography, 7(2), 125 – 142.

Bucholtz, M and Lopez, Q. (2011). Performing Blackness, Forming Whiteness: Linguistic Minstrelsy in Hollywood Film. Journal of Sociolinguistics, 15(5), 680-706.

McDaniel, Nicole. The Remnant is the Whole: Collage, Serial Self-Representation & Recovering Fragments in Theresa Hak Kyung Cha’s Dictee. Ariel, 40(4), 69-88.

Collins, K. (1996). White-Washing the Black-a-Moor: Othello, Negro Minstresly and Parodies of Blackness. Black & White Photographs, 19(3), 87 – 101.

Strickland, S. (2009). Born Digital: A Poet in the Forefront of the Field Explores What is-and-is not Electronic Literature. Poetry Foundation. Retrieved from

Carpo, G. (2000). Laughing Fit to Kill: Black Humor in the Fictions of Slavery. Oxford, UK: Oxford University Press.

McMillan, U. (2015). Embodied Avatars: Genealogies of Black Feminist Art and Performance.  New York, NY: New York University Press.

Yancy, G. (?). The Black Self Within a Seimotic Space of Whiteness: Reflections on the Racial Deformation of Pecola Breedlove in Toni Morrison’s The Bluest Eye.


Trial Run (1):::::

(Using the body/excerpts of original text to offer clues in how to treat the physical surface of poem)

Poems will no longer be transcribed as a chapbook but will remain permanently in the digital realm.

Poems will be further realized within a gallery installations.

Chapbook will feature the instructions, essays, commentaries, footnotes etc accompanying work but NOT ACTUAL work.


Ebola Cherries

Male CUES:

hugs and loves me so good

no kind of elevation

 see through all of the madness

kiss her under the evening skies but be gone by first light

stop talking reckless like you’re my girl and play your position as mistress

Female Cues:  Sound of woman drawing her thoughts

Linguistic Ministresly: translating English into either ebonics or Jamaican pati

Code Switching: EBOLA (repulsive/salty/virus/contagious/deadly) versus CHERRY (soft/sugary sweet/orgasmic)

Humor:  The Ebola virus chasing down real life cherries / ebola masturbating/ infecting on busted up cherries

                      Collage: Drawings will physically blot out man’s words like blood, like a spill

Non-Seriality aspects:

Cherries are individualized

Not sure if words will take on shape of these unique cherries or embody something else

Black Geographical landscapes: Suffer from elephantiatisis / things are way too big/ things within this world are oddly misshappen

Screen Interface: Cinematic; Flash poem

READER Interaction: minimal interaction / one click of a button and the endless  pursuit of a cat and mouse chase between ebola and cherries begins











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