[-empyre-] Tr[-empyre]

[Craig Saper]

Following the discussion closely. And, the tech-nic-al bre-ak dow- on the listserve.

One thread I hope continues in new week — w/ new moderators and participants — the role of e-x-arts in -empyre —in a time when many are confronting Exile, Escape, … 

Here is something I shared with Alan Sondheim as a sidebar (off the list) using the sound track (by Azure Carter, voice and song Luke Damrosch, programming, recording, engineering and Sondheim on flute … [their CD will be released with Public Eyesore]. …  as the soundtrack for this excerpt):

> non-fiction allegory and escape manual :: both literally and figuratively

> An excerpt from my book [play the soundtrack that Sondheim posted: http://www.alansondheim.org/protoborrow.mp3 <http://www.alansondheim.org/protoborrow.mp3>]:
 
> In literary histories of modernism, the word expatriate has, until recently, referred to a group of American writers and artists living in Paris and the Côte d’ Azur in the 1920s. Ernest Hemingway immortalized this supposedly high-living crowd in his novel A Moveable Feast (1964), as did Gertrude Stein and F. Scott Fitzgerald, but counter to the mistaken view of a decadent and politically detached expatriate group, many of these same expatriates, including Rose and Bob Brown, began by fleeing, penniless, through Mexico and into Latin America in 1917 (often to avoid jail for sedition or draft dodging). In their actions, they broadened the definition of expatriates and stressed the literary and artistic vanguardists?connections to loss, exile, violence, and narrow escapes. These were not just themes in later avant-garde art; these were the lived experience of a generation, where a poverty-induced make-do resourcefulness reinforced collages of found, often discarded, objects; where exile led to a fascination with otherness and displacement; where their disgust with the xenophobia sweeping the United States and Europe, in the late teens and early 1920s, led to their flaunting diversity, difference, internationalism, and otherness; and where the necessity to avoid arrest fueled an interest in masquerade, coded allusions, and inside jokes. (from Chapter 4: Exile, Escape, and World Travels)




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