PUB: A River & Sound Review ~ Contests

A River & Sound Review now holds two writing contests a year, The Duckabush Prize for Poetry and The Nisqually Prize for Fiction.  Length of manuscripts and subject requirements for each category are the same as for our regular submissions. Reading period for both contests will be open from August 1, 2010 to October 31, 2010. Stay tuned for more details, or join our mailing list to receive regular updates.

Judges for our 2010 Contests are Rick Barot for poetry and Pia Ehrhardt for fiction.

All finalists will receive special recognition and winners will receive a $500 prize, be published in the Winter 2011 issue of RSR, and be featured on a future RSR Live podcast.

Contest Submission Rules:

~ All RSR writing contests are open to all writers, save those who actually serve on the RSR staff. 

~ Prose submissions are limited to one story/essay per entry, regardless of length.

~ Poetry submissions are limited to three poems per entry, regardless of length.

~ Writers may submit as many entries as they choose, provided each entry is mailed in separate envelopes and each accompanied with the proper entry fee.

~ The entry fee for the first submission is $15.  All subsequent submissions, whether poetry or prose, for that season's contest are $5.

~ Judging of all writing contests will be conducted by the RSR staff, along with guest judges making the selection among finalists.

~ RSR will offer a cash prize to the first place entry and publicly announce the names  of all finalists.

~ RSR will consider all submissions for publication in our online literary journal.

~ Simultaneous submissions are allowed, but writers must inform RSR staff if any submitted work has been accepted elsewhere and withdraw it from the contest.

Contest Submission Directions:

~ Submit one copy of your story or poem(s) and make sure your name does not appear anywhere on the manuscript(s). 

~ On a separate page, print your name, full mailing address, email address, and phone number.  Also on this page, list the title of the manuscript(s) you submitted. 

~ Include in your submission a check (for entry fee) made out to A River & Sound Review.

Mail your entry to:

A River & Sound Review

2010 Poetry/Fiction Contest

17317 136th Ave. Ct. E.

Puyallup, WA  98374

PUB: The Briar Cliff Review

The Fifteenth Annual Fiction, Poetry
and Creative Nonfiction Contest

 

The Briar Cliff Review

Submit to an award-winning magazine

Member of Council of Literary Magazines and Presses (CLMP)

2002 Gold Crown Award
2000 Pacemaker Award
1999 Gold Crown Award
1998 Gold Crown Award
1997 Silver Crown Award
1995 Pacemaker Award
1994 Gold Crown Award
1993 Gold Crown Award
1992 Silver Crown Award

Fifteenth Annual

Fiction, Poetry and Creative Nonfiction Contest

$1000 First Place for each category

Plus Publication in Spring 2011

Entries will be judged by the Editors of The Briar Cliff Review.
$20 entry fee per story/creative nonfiction piece or three poems.
Omit author’s name on manuscript.

Deadline: Nov. 1, 2010

       Guidelines:       

  • Short story/creative nonfiction word limit up to 6,000.

  • Short stories and creative nonfiction should be typed, double-spaced, 8 1/2 x 11.

  • Poetry should be single-spaced, 8 1/2 x 11.

  • No more than one poem per page.

  • Send cover sheet with title/s, author’s name, address and email. Title but no name on manuscript.

  • Winning pieces are accepted on the basis of first-time rights.

  • Simultaneous submissions are accepted, but notify us  immediately upon acceptance elsewhere.

  • Previous year’s winner is ineligible.

  • All entrants receive a copy of the magazine with winning entries. The magazine costs $15 a copy.

 

Send entries to:

Tricia Currans-Sheehan, Editor
The Briar Cliff Review
Fiction, Poetry and Creative Nonfiction Contest
3303 Rebecca St
.
Sioux City, IA  51104-2100
www.briarcliff.edu/bcreview

 

PUB: Markham Poetry Contest | Reed Magazine

Reed Magazine Banner 2010

Markham

 

Sponsored by Reed Magazine and San Jose State University.

Reed Magazine announces the Edwin Markham Prize for Poetry. Writers are invited to submit poetry manuscripts of 3-5 original unpublished poems. The winner will be selected by Marilyn Chin The first-place winner will receive a $1000 cash prize. The winning manuscript will appear in the 2010 issue of Reed Magazine, and runners-up also will be considered for publication. All entrants will receive a complimentary copy of the 2010 issue of Reed Magazine.

To learn more about Markham, click here.

All submissions must abide by the following competition rules and guidelines:

1. Submit through the online system.

2. All submissions must be submitted by November 1.

3. Please submit all poems in a single computer file. Use a common file format: *.doc and *.txt preferable. Please do not submit in the *.docx file format.

4. A reading fee of $15:

Reed Magazine
SJSU English Department
One Washington Square
San Jose, CA 95192-0090

5. Writers may submit multiple entries, but remember that every five submissions (five poems) must be paid with another reading fee.

6. The finalists, as determined by Reed's poetry editors, will be sent to the judge

7. Employees and board members of the National Steinbeck Center, REED Magazine, or the Center for Steinbeck Studies are not eligible to participate in the competition.

8. The work submitted must be your own - no translations allowed.

We will begin accepting Markham submissions for the 2010 edition of REED Magazine June 1st, 2009.

Submit your work here.

Pay Edwin Markham Contest Fee

If you have any questions please contact us at: reed@email.sjsu.edu

 

 

INFO: Breath of Life—Nina Simone, Richard Bona, J. Period MJ Tribute Mixtape

Nina was a consummate concert pianist, a riveting vocal stylist, a trance inducing dancer, all contained within a fearless and charismatic personality. Nina absolutely refused to give in to the temptations of fame and fortune, or buckle under to the threats and persecutions designed to temper her rebellious spirit.

 

Rather than be a slave to the system, she escaped and died in exile in France.

 

She had gone way out there—a runaway who refused to return no matter how much the captains of industry insisted that conditions had changed. Although some would like to assess her mercurial personality as bi-polar or even schizophrenic, the truth is that whatever might have been medically or mentally wrong with Nina, both the etiology and sociology of the problem were firmly rooted within the larger American society. In other words we are no sicker than the social conditions that produce us.

 

Nina Simone completely redefined what it meant to be a professional recording artist. Moreover, as much as I dug her political stances and sentiments, what really, really moved me was her unsentimental, clear-eyed philosophical stances as an artist and as a human being.

 

Nina Simone & Piano! is a classic album even though most of us have never heard the recording and some of us even find the performance unlistenable. And in truth the performances are raw sometimes just short of ugly and painful. Nina cuts no slack. Not one radio-friendly, lovey-dovey selection—just Nina singing and accompanying herself at the piano in a fierce and uncompromising critical reflection mode.

____________________________________________

We open the week with selections from a classic Nina Simone and piano album, followed by new music from bassist Richard Bona, and conclude with a J. PeriodMichael Jackson Tribute Mixtape.


http://www.kalamu.com/bol/

VIDEO: Danticat, E.: Create Dangerously: The Immigrant Artist at Work.

Create Dangerously:
The Immigrant Artist at Work
Edwidge Danticat

Cloth | 2010 | $19.95 / £13.95
208 pp. | 5 1/2 x 8 1/2

e-Book | October 2010 | $19.95 | ISBN: 978-1-4008-3590-4

Shopping Cart | Endorsements | Table of Contents
Chapter 1 [PDF]

 
Toni Morrison Lecture

 

Large mp4 | Med mp4

 

"Create dangerously, for people who read dangerously. This is what I've always thought it meant to be a writer. Writing, knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them."--Create Dangerously

In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile, examining what it means to be an immigrant artist from a country in crisis. Inspired by Albert Camus' lecture, "Create Dangerously," and combining memoir and essay, Danticat tells the stories of artists, including herself, who create despite, or because of, the horrors that drove them from their homelands and that continue to haunt them. Danticat eulogizes an aunt who guarded her family's homestead in the Haitian countryside, a cousin who died of AIDS while living in Miami as an undocumented alien, and a renowned Haitian radio journalist whose political assassination shocked the world. Danticat writes about the Haitian novelists she first read as a girl at the Brooklyn Public Library, a woman mutilated in a machete attack who became a public witness against torture, and the work of Jean-Michel Basquiat and other artists of Haitian descent. Danticat also suggests that the aftermaths of natural disasters in Haiti and the United States reveal that the countries are not as different as many Americans might like to believe.

Create Dangerously is an eloquent and moving expression of Danticat's belief that immigrant artists are obliged to bear witness when their countries of origin are suffering from violence, oppression, poverty, and tragedy.

Edwidge Danticat was born in Haiti in 1969 and moved to the United States when she was twelve. She is the author of two novels, two collections of stories, two books for young adults, and two nonfiction books, one of which, Brother, I'm Dying, was a finalist for the National Book Award and winner of the National Book Critics Circle Award for autobiography. In 2009, she received a MacArthur Fellowship.

Endorsements:

"This is the most powerful book I've read in years. Though delicate in its prose and civil in its tone, it hits like a freight train. It's a call to arms for all immigrants, all artists, all those who choose to bear witness, and all those who choose to listen. And though it describes great upheaval, tragedy, and injustice, it's full of humor, warmth, grace, and light."--Dave Eggers, author of Zeitoun and What Is the What

"Edwidge Danticat is a great literary artist. She is also a grand cultural critic whose wisdom and compassion loom large in this magnificent book."--Cornel West, Princeton University

"Edwidge Danticat's prose has a Chekhovian simplicity--an ability to state the most urgent truths in a measured and patiently plain style that gathers a luminous energy as it moves inexorably forward. In this book she makes a strong case that art, for immigrants from countries where human rights and even survival are often in jeopardy, must be a vocation to witness if it is not to be an idle luxury."--Madison Smartt Bell, author of Toussaint Louverture: A Biography

Create Dangerously is an intelligent and passionate book on the role of the immigrant artist. As in her fiction, the lucidity and humility of Edwidge Danticat's prose has a quiet force. This book is as much a testimonial to the spirit of resistance and defiance as it is an elegy for those who have died and disappeared; it is as much a provocation to the artist as it is a book of mourning."--Saidiya V. Hartman, author of Lose Your Mother: A Journey Along the Atlantic Slave Route

Table of Contents:

CHAPTER 1: Create Dangerously: Th e Immigrant Artist at Work 1
CHAPTER 2: Walk Straight 21
CHAPTER 3: I Am Not a Journalist 41
CHAPTER 4: Daughters of Memory 59
CHAPTER 5: I Speak Out 73
CHAPTER 6: The Other Side of the Water 87
CHAPTER 7: Bicentennial 97
CHAPTER 8: Another Country 107
CHAPTER 9: Flying Home 115
CHAPTER 10: Welcoming Ghosts 127
CHAPTER 11: Acheiropoietos 137
CHAPTER 12: Our Guernica 153
Acknowledgments 175
Notes 177
Index 183

 

REVIEW: Book—Intonations: A Social History of Music and Nation in Luanda, Angola > H-Net Reviews

Marissa Jean Moorman. Intonations: A Social History of Music and Nation in Luanda, Angola, from 1945 to Recent Times. Athens: Ohio University Press, 2008. xxv + 290 pp. $52.95 (cloth), ISBN 978-0-8214-1823-9; $26.95 (paper), ISBN 978-0-8214-1824-6.

Reviewed by António Tomaz (Columbia University)
Published on H-Luso-Africa (July, 2010)
Commissioned by Philip J. Havik

Rethinking Music and Nation in Angola

Up until now, the history of Angolan nationalism has generally been told in two major ways. The first primarily takes into account the nationalist armed struggle, particularly the urban and cosmopolitan tendency led by the Popular Movement for the Liberation of Angola - Party of Labour (MPLA). This is the line, for instance, that has been naturally embraced not only by the MPLA ideologues, but also by revolutionary authors and a great deal of Western scholars. The emphasis here is put on the contribution of armed warfare towards the achievement of Angolan independence. The other approach stresses the importance of diplomacy, and focuses on the whims and intricacies of international relations. In this body of literature, Angola’s path to independence is explained as part of a broader process that involved the pressures brought to bear by international organizations, such as the UN and the Organization of African Unity (OAU), and by the vested interests of Cold War contenders and domestic politics in metropolitan Portugal.

What Marissa Moorman does with her book, Intonations: A Social History of Music and Nation in Luanda, Angola, from 1945 to Recent Times, is to forcefully argue for a new paradigm. Using Benedict Anderson’s study on nationalism as a paramount theoretical reference, Moorman proposes a “culturalist” approach to the emergence of nation and nationalism in Angola. She primarily distinguishes the nation as a political formation from its cultural references, and “nationalism” from “nation” by creating a framework that, taking a cue from Anderson, she calls “cultural sovereignty.” By applying this concept to the Angolan case, she attempts to extricate the formation of the Angolan nation from the nationalism of the armed struggle and locates it as a phenomenon that emerged almost autonomously in the slums of Luanda, whose inhabitants were in the process of forging an idea of national culture. However, for Moorman, unlike Anderson, what propelled the circulation of ideas and cultural artifacts (such as music records) was not print capitalism, but what she coins “sonorous capitalism.” The idea implicit here is that Angolan music, or the music made by Angolans, produced during the period of late colonialism and circulated through the air waves and vinyl, was the harbinger of the formation of Angolan consciousness, or Angolanidade

The book is divided into six chapters. Chapter 1 deals with the relationship between the musseques (or shantytowns) and the formation of a specific urban culture, i.e., Angolanidade. In chapter 2, Moorman explores the intersection between this urban culture and nationalist and clandestine political activities. Chapters 3, 4, and 5 dwell more specifically on the circulation of music, including the role of women in the context of this urban popular culture; the meaning and interpretation of lyrics and their association with daily life; and the technological media that served as vehicles for the circulation of this music: radios, turntables, and vinyl records. In the last chapter, Moorman successfully demonstrates how Angolanidade remained autonomous from political nationalism, and the ways in which the failed military coup of May 27, 1977 (which resulted in the deaths of many thousands of Angolans) was the consequence of the clash between the MPLA leadership and the people involved in the production of Angolanidade. However, for Moorman the disjuncture between politics and national consciousness continues to drive the dissidence of many Angolan singers, such as the kuduristas.  

Moorman locates the formation of the nationalistic consciousness in the musseques, i.e., the shantytowns “where the majority of Africans (as well as a small number of poor whites) in colonial Luanda found housing when they came to the city to enter the labor market” (p. 28). Moorman goes against the grain of the work done by colonial social scientists, who portrayed the musseques as places of “urban malaise” (p. 36). She successfully makes the case for musseques being places of creativity--relying mostly on her extensive gathering of testimonies of local informants--where “the musical tradition of rural areas met and mixed with European tradition to form a unique new urban popular music” (p. 54). However, the lengthy elaboration on “musseques” also serves a strategic purpose. Moorman seeks not only to contrast slums with asphalt city, looking from center to the periphery, but, more importantly, to build a context of “anti-colonial ethics” rooted in the musseques, that starkly contrasts with the hegemonic mindset based upon colonial ideology and the tenets of lusotropicalism.  

For Moorman the constitution of this “other space,” à la Mikhail Bakhtin, suspended from colonial rule, gravitated around the production and circulation of music. However, this raises a question that Moorman unsuccessfully comes to grips with: why is it that the music by which Angolans produced their difference and authenticity vis-à-vis metropolitan Portuguese also formed part of colonial mechanisms of control, since it was produced by Portuguese recording houses and diffused by means of colonially sponsored radio broadcasts? How was it possible that the formation of this “sonorous capitalism” bypassed the capitalists themselves who were the most important instigators of the recording and diffusion of Angolan music?

Moorman’s avoidance of dealing with race is more noticeable as she shows a particular sensibility with regard to gender issues. Often she refers to “Africans,” or “Angolans,” without however attempting to characterize each category. One assumes that “Angolans” were blacks, since there is a clear intention to eliminate whites from this narrative. However, what is lacking here is an explanation as to why whites--who were also amongst the most enthusiastic consumers--were so interested in music made to a great extent by blacks. Moorman is correct when she suggests that an idea of “folklore” was the key to whites’ interest in this kind of music. What is interesting here is that their fascination with Angolan “folklore” did not clash with lusotropicalist precepts, since, to put it differently, the use of folklore was exactly the triumph of Lusotropicalism. Moorman refers to the fact that many Angolans, even those who were enthusiastic listeners of the music from the musseques, did not master enough Kimbundu to understand the lyrics. So for them, as for Portuguese, Angolan music was also folklore.

Intonations is nonetheless a pioneer work, in the sense that it blends culture and politics in a very challenging and innovative manner. Through its description of places, and its attempt to recast the voices of those who played a role in that important period of Angola’s recent history, the book provides a precious glimpse of the golden age of Angolan music. That age, which was crucial for the formation of modern Angola, was characterized by a vigorous expansion of the urban fabric, a notable cultural dynamic, and the formation of a unique consciousness which manifested itself in the Angolan music of which Marissa Moorman gives such a rich and detailed account.

If there is additional discussion of this review, you may access it through the list discussion logs at: http://h-net.msu.edu/cgi-bin/logbrowse.pl.

Citation: António Tomaz. Review of Moorman, Marissa Jean, Intonations: A Social History of Music and Nation in Luanda, Angola, from 1945 to Recent Times. H-Luso-Africa, H-Net Reviews. July, 2010.
URL: http://www.h-net.org/reviews/showrev.php?id=30648

 

INFO: 'I fell in love with a female assassin' - Americas, World - The Independent

'I fell in love with a female assassin'

 

They met on a train and fell in love. Then Jason P Howe discovered that his girlfriend Marylin was leading a secret double life – as an assassin for right-wing death squads in Colombia's brutal civil war. With their story set to become a major Hollywood film, he recalls an extraordinary, doomed romance

 

Thursday, 6 March 2008

(c) Jason P. Howe 2003

Photographer Jason P. Howe and Marilyn; who confessed to being an assassin who worked with the AUC paramilitaries before turning freelance. Puerto Asis, Colombia on the 13th of June 2003. She claimed to have killed at least 25 people and was herself murdered by the paramilitaries in October 2004 on suspicion of informing.

There comes a point in every new relationship when your girlfriend wants to share a secret. Usually it's to do with sex – how many other partners she's had (with a few conveniently erased) – that sort of thing. Often, the secret changes the basis of the relationship; honesty comes with consequences. But what happens if your new girlfriend has a much darker and more sinister secret than having slept around a bit?

 

Sitting naked on the edge of the bed in a cheap, sweltering hotel room in the heart of a war-torn, drug-producing region of Colombia, I lit a cigarette and listened as the girl I had just made love with told me a secret dark enough to shake anyone from their postcoital bliss.

I had been in Colombia for a few months to learn how to become a photojournalist. Not by attending some theoretical university course, or taking portraits in a cosy studio, but by pitching myself in at the deep end.

Times of peace have been rare in the country's history. For the past 40 years or so, a Marxist-inspired rebel group known as the Farc (Revolutionary Armed Forces of Colombia) have been at war with the government, funding their growing army by kidnapping and extortion, and taxing the illegal cocaine trade. Right-wing death squads known as "self-defence forces" have sprung up as a response to the Farc's kidnapping of wealthy landowners and drug-lords. Under the umbrella of an organisation called the AUC (Autodefensas Unidas de Colombia) these private militias, or paramilitaries (known locally as "paras"), are secretly supported by those high in the government and military, who back their dirty war against the Farc rebels.

This triangular conflict has exacted, and continues to exact, a hefty price from the Colombian people. During the past four decades, over 200,000 have lost their lives and more than three million have been forced from their homes by violence or intimidation. This week, following an incursion by government forces to kill Farc rebels in Ecuador, the conflict was at the centre of a diplomatic crisis involving both nations, together with Hugo Chavez's Venezuela.

To dismiss all this brutality as a simple war over drugs does the Colombian people a gross injustice. Its roots are buried in the economic and social imbalance that permeates the country, a huge working class living in poverty, lining the pockets of a tiny, wealthy upper class who own more than 90 per cent of the land, industry and business. My goal, therefore, was to meet and photograph members of each of the groups involved, and to attempt explain Latin America's 40-year conflict.

A female FARC fighter crouches in a ditch as bullets fired by Government soldiers fly overhead. The FARC were holding 40 civillians as a human shield at an illegal roadblock to provoke a response from the troops.

I began by travelling to a part of the country with a strong Farc presence, and, after much perseverance, persuaded the rebels to let me live in one of their camps. After documenting their daily lives and being alongside them in a firefight against government troops, it was time to go off in search of their sworn enemies, the paras.

I headed towards the Putumayo, one of the narco-trafficking centres and scene of ongoing skirmishes between Farc and the paras in southern Colombia on the border with Ecuador. It took a couple of days travelling on a local bus to get to the capital, Puerto Asis.

En route, I began talking with a fellow passenger, a beautiful Colombian girl called Marylin who told me she was returning from a clothes-buying trip in one of the big cities. I explained my purpose in visiting the region, and Marylin told me she had friends in both the paramilitaries and the military, so would be able to help. She invited me to stay with her family, who had a roadside store and bar on the outskirts of town. I was attracted to Marylin, but had no idea how close we would become and how our future would unfold.

I spent the next few weeks living with her family, making trips out into the countryside to photograph the coca fields and to meet the paramilitaries. Marylin and I spent long afternoons lying together in a hammock. We held hands and kissed occasionally, but it went no further. Eventually, my time and funds ran out and I had to return to England. As I said goodbye, I promised to do my best to return and Marylin told me I was now "part of the family".

Six months later, I was back, determined to explore this conflict fully, learn as much as I could and maybe publish a book. I made my way back to Puerto Asis with the intention of spending some time with Marylin and her family. But I was in for some surprises: Marylin told me that she had joined the AUC and had been active in combat in the nearby village of El Tigre. Another female friend who had been fighting at her side had been killed, along with 25 other paramilitary fighters and at least 15 rebels. When the combat ceased, the entire population of the village fled. Marylin's brother was now working on a coca plantation and carried a pistol that he slept with under his pillow. I didn't find it particularly shocking. This was, after all, a country torn apart by every type of violence. Only luck, or lack of it, dictated which side you were on.

Months passed. I travelled around the country developing my project. The results received positive attention, including a prize in an international competition, and it was suggested that I go to Iraq to document the war there. And so I did. But, after six months living with the daily car bombings and rocket attacks in Baghdad, I was hankering to return to Colombia.

A year after our first meeting, I arrived back at Marylin's home in a battered taxi. I sat and drank an ice-cold beer with her father while waiting for her to return from an "errand". I then walked hand-in-hand with her and her four-year-old daughter, Natalie, down the rutted cart track to a tree-shaded river behind her house. With her daughter splashing around near the bank we waded, arm in arm, into the deeper, cooler water. I felt there was a change in the atmosphere, but I couldn't exactly put my finger on what I was sensing.

I asked Marylin if things would be different between us if I stayed at a hotel in the town rather than with her family. She agreed that it might make it easier for us to be together, so I found myself a room. That evening, she came for dinner. We ate on the balcony and, as we shared a bottle of wine and listened to the chorus of insects, I began to think that the year of groundwork I had put in was about to pay off. Marylin stayed the night.

Puerto Asis, Marylin's home town sits a degree or two above the equator. Air-conditioning was an expensive extra and I was broke. The tiny hotel room was stifling, and, as we lay curled in the sweat-soaked sheets, with the shouts of street vendors and the rumble of early morning traffic drifting in though the balcony window, Marylin said she had something to tell me.

She then hit me with a confession that would both thrill and confuse me. She explained that in the months that I had been away in Iraq her role within the AUC had changed; she had joined the urban militia and become an assassin. Her job was now to eliminate informers and traitors. So far, she told me, she had killed at least 10 people in the area. I lit a cigarette and inhaled deeply, Marylin looked at me through the smoke as I exhaled, waiting to see how I would respond to what she had just told me.

Strangely, her confession did not have the impact one would expect; I did not recoil in horror. The months I had spent in Colombia and in Iraq surrounded by violence had altered my perspective. I don't think that I had become immune to death or suffering but I had certainly become less easily shocked. The difference between victim and victor, rebel and refugee, often felt like only a matter of perspective.

I had always enjoyed the company of the "doers", the rebels and the soldiers who were out risking their lives for causes I supposed they believed in. I was left cold by the wealthy, well-dressed beauty queens who inhabited the upmarket clubs of Bogota. Although I would later feel very differently, my initial reaction to Marylin's words were an acceptance that may even have bordered on approval. I guess I felt that as war-zone lovers go, she was pretty "cool".

In the beginning, her visits to my hotel room – usually armed with a pistol – did not disturb me greatly. At first, I don't think the real implications of what Marylin was doing had filtered through the surreal haze. I was young and living out a great adventure. This was surely the closest I would ever get to someone who was truly and totally involved and immersed in this conflict. The woman I had only recently begun sleeping with was a hired killer and there was a gun on my bedside table.

Watching her take the pistol from her belt, unbutton her jeans and slip into bed I somehow couldn't quite equate the woman in my arms with the bodies I had seen in the local morgue, their heads shattered by gunshots at close range, murders she confessed to having committed. High on a combination of the heady tropical climate, local rum, grade A cocaine and in the arms of nubile 22-year-old, fantasy and reality became blurred. It felt like I was living in a Quentin Tarantino movie.

Marilyn; a self confessed assassin who worked with the AUC paramilitaries before turning freelance cleans her gun in her bedroom while her niece and cousin play nearby.

One morning, Marylin told me that the previous night she had persuaded a friend to help her decapitate and dismember a woman she had been contracted to kill. This was no informer, but, rather, a friend of hers who paid her to kill her boyfriend's other girlfriend. She described so graphically what had happened, with so little feeling, that at last reality kicked in. I found my feelings about her changing. The romantic light started to fade fast. She no longer seemed to be a legitimate part of a civil conflict but had evolved into a freelance killer, taking life in exchange for money – no more, no less.

Although I still found her sexually attractive and wanted to be with her, something else was ricocheting around in my brain. Some of the thoughts that would have occurred to anyone else much earlier were, now, at last, beginning to filter through.

Over the past year, I had photographed her swimming in the river with her daughter and reading bedtime stories. Now, the images I was recording concentrated almost entirely on the other side of her life. I was, with thoughts of self-preservation in mind, reducing her to "subject".

I asked Marylin if she would be prepared to let me interview her about her life and what she had become involved in. Wearing a balaclava and brandishing a pistol, she permitted me to video our conversation.

I began by asking her how she had first become involved with the paramilitaries and why she decided to join them. How she had been persuaded to kill her first victim and how she felt about it. She started hesitantly, but gathered confidence as her story unfolded.

"When I killed the first person, I was afraid, I was scared. I killed the first person just to see if I could. But there is an obligation to kill. If you don't, they kill you. That's why the first was very hard, because the person I killed was kneeling down begging, crying and saying, 'Don't kill me. I have children.' That's why it was difficult and sad. But if you don't kill that person, someone else from the AUC will kill you. After the killing, you keep trembling. You can't eat or talk to anyone. I was at home, but I kept imagining the person begging not to be killed. I shut myself inside, but with time I forgot everything. The superiors always say, 'Don't worry, that was just the first time. When you kill the second one, it will all be OK.' But you keep trembling.

"The second time is only a bit easier, but as they say here, 'If you can kill one, you can kill many more.'

"You have to lose the fear. Now I am still killing and nothing happens. I feel normal. Before, I had an obligation to kill, I was sent to kill. But once I left the organisation, I was not obligated. I now only do the job for money.

"Yes [I killed one of my friends], because they were going to kill me. They told me to take care because they worked for the other side and had connections with the guerrillas. And so it was my life or theirs. So I asked permission to do it, which [the AUC] gave me. [The AUC] investigated and it came out positive that [my friends] worked for the guerrillas, so I killed them. It was very painful for me. I was at the burial and at the vigil. It hurt me to see his mother crying, knowing I was the one guilty of having caused that. But it's your life and you're taught in the [AUC] school: First you, then the others. In total, I have killed 23 people."

An incredible sadness washed over me as I listened to this intelligent young woman, who I had become so close to, talk of her life. Marylin was an extreme victim of circumstance. Her boredom and quest for excitement had brought her into contact with the paramilitaries, who had brainwashed her and left her with no respect for human life. Not her own, not even her family's.

But her excuses, or lack of them, riled me and I told her she represented everything that was wrong with the country. From my privileged and ultimately unqualified position as an outsider I found it impossible to identify with her, only to be angry, upset and judgemental.

Reducing her to a "subject" had not worked, I did not seem able to be detached and objective or able to put my own feelings aside. I had travelled too far beyond that point. While on one level I relished the intensity of what I was experiencing, there was a price to be paid for getting in so deep and it was high. I realised that the things I had seen and heard in the last couple of months were incredible. Through them, my passion for Colombia had grown and my understanding of what was happening in this much misunderstood country had broadened. But I felt that I had lost something and been damaged by them, too.

I returned to Iraq and then moved on to covering the war in Afghanistan. Over the course of a year, Marylin and I exchanged emails periodically. They mainly involved her asking me where I was and asking me not to forget her. She told me that the things I had said to her after her interview had had a big impact. No one had spoken to her like that, really questioned her about what she was doing with her life. She told me that she did want to make a new beginning, but that she knew the AUC do not let their members leave, at least not alive.

After a long period of silence, I began to fear something had happened. So I decided that I would return to Puerto Asis to learn the truth.

It took me some time to pluck up the courage to drive out to her home to see if she and her family were still around. I wondered if she had perhaps made the break and left to begin a new life or whether, more likely, her past had caught up with her. Given the dreadful things that I already knew she had been involved in, I was at least somewhat prepared for bad news. What I was not ready for was how confusing it was going to be to hear it.

Her family showed their normal surprise at finding me at their front door. All my fears were confirmed as her father, his eyes welling with tears, told me that Marylin was dead. She was 25 years and two months old when she was kidnapped from her home and stoned to death. Her abductors crushed her head with rocks and then shot her. 

The next morning, her now six-year-old daughter, Natalie, awoke as an orphan, Marylin's parents had lost a third daughter and her brother so overcome with grief that he was unable to walk, talk, or even feed himself. Marylin was not killed by some local seeking revenge for one of the many deaths that had occurred at her hands during her time as an assassin. She was murdered by her own group in a symbolic stoning for being a sapo ("frog"), which is what Colombians call informers.

Her most recent boyfriend was a government soldier, convenient enough when the paramilitaries and the military were working side-by-side in their war to wrest control of the coca fields of Putumayo from the Farc, but enough to get her killed when that relationship soured and her pillow talk continued.

Marylin's death had a special significance for me, because I, too, had shared some of that pillow talk. We had been friends and then lovers. Our lives never had much in common; except that Colombia's dirty little war had both of us locked into its fatal grip. I found it difficult to speak; I wasn't actually sure what I was feeling.

Was I feeling sorry that a young woman, who had deliberately taken the lives of other human beings, had received the same kind of street-corner justice she had been responsible for handing out? Was I reliving the conversations we had about changing her life and the emails I received from her thanking me and saying she needed to talk more about how she could get out of the mess she was in? Was I wishing I had done more to help her? Was I feeling sorry for her parents and her beautiful daughter, who one day would want an explanation as to why her mother was killed and, maybe, discover the horrors that occurred while she was a sleeping baby? Was I remembering what it was like to kiss her in those days before I had any clue she was an assassin? Was I trying to imagine, or perhaps trying not to imagine, what she looked like after her head had been destroyed with stones and rocks?

In truth, I was thinking, feeling and imagining all of these things. At the same time, though, I knew that whatever pain her family was feeling, she had caused this same pain to others many times over.

Back in my hotel room I let out the longest of breaths, lit a cigarette and stared at the ceiling fan. The whirling blades churned together my memories of the wars I'd been in, my ex-girlfriend and my current situation.

The daughter  and mother of Marilyn a self confessed assassin for the AUC paramilitaries, put flowers on her tomb in Puerto Asis cemetery., Colombia on the 31st of March 2005.

Early next morning, together with Marylin's mother and Natalie, both wearing their best dresses and carrying flowers, I went to see where Marylin body had been laid to rest. Her coffin was in a concrete box, resting on top of the tomb of her sister, who had also been killed by the conflict. The number of bodies demanding burial had long ago outstripped the space available. Alongside lay a much smaller tomb; the remains of another of her sisters, who'd died of natural causes aged three months. I could not imagine how Marylin's mother felt holding the hand of her granddaughter, looking over the graves of all three of her daughters.

My plan for travelling deeper into Putumayo to photograph the paramilitaries no longer seemed such a good idea. Marylin had always pointed me in the right direction and warned me when pushing further was not a good idea. I wanted to learn more about her life and death, but didn't want to get killed for asking the wrong questions of the wrong people.

That night, eating dinner against a background of revving motorbikes and honking trucks, another local told me more of what had happened to Marylin. Between mouthfuls of soup, the woman told me that Marylin had been involved with the AUC a lot longer than she had admitted to me, and that it was commonly believed in the town that she was involved in the massacre of 26 villagers in El Tigre. Many of the victims were decapitated and disembowelled before being thrown into a river. I booked a seat on the next available flight out.

As I watched Puerto Asis disappear below me, the plane was enveloped by cloud. On my iPod, someone was singing "this city's made us crazy and we must get out".

As I sit typing this, nearly 9,000 miles away in a freezing, dark hotel room in Kabul, Afghanistan, covering yet another never-ending conflict, I wonder whether it could have ever ended any differently. Was Marylin really killed because she was an informer or because, as she indicated in her emails, she did really want to leave the AUC and start a new life?

This is what I want to believe. I want to believe that she had a change of heart. I want to believe that she wasn't the cold, heartless, evil killer she appeared to be. But who am I trying to fool?

________________________________________

This article was originally published in Arena magazine. Jason P Howe is the author of Colombia: Between the Lines, out later this year. To order a copy, contact books@conflictpics.com

 

 

HAITI + AUDIO: Mannigèt: Post-Quake Hip-Hop in Haiti : The New Yorker

Mannigèt: Post-Quake Hip-Hop in Haiti

I spent sixteen days in Haiti this summer reporting my piece in this week’s magazine on the upcoming elections there. While visiting one of the new refugee camps across from the ruins of the national palace, I met Charles Pierre, whose street name is Samuel, and his friend Jerry, who are street rappers. They gave me a CD with a song of theirs (co-written by another friend, Veus Mathurin, who also lives in these camps) called “Mannigèt.”

Loosely translated from the Creole, the word mannigèt means manipulation, hypocrisy, lying, or magouille, which in turn means dirt, graft, falsehood, or blof, which means just what it sounds like. There are many words in Haitian Creole for fraud and deception.

The song is post-quake hip-hop. They wrote it about two months after the earthquake. To say that they wrote it is to say that they made it up: the lyrics have never been written down on paper because all of these musicians and lyricists are functionally illiterate. The song’s subject is untrustworthy politicians, priests, teachers, and doctors; hypocrisy, the whole post-quake Haitian scene. It’s a cri de coeur from what Wyclef Jean calls “the youth.”

Here are some of the lyrics of “Mannigèt”:

 

They don’t respect the rights of youth; leaders never think of the poor, they deform poor kids, they let them become prostitutes, some of us have to do drugs to get rid of our stress, and this is why the country cannot advance. But this complex must end. Here’s what kids are asking for: education, support, security. That’s how the country can end up with some change. We have to stop believing only in money and to recognize that we are all the same blood. The force is not elsewhere, it exists in our unity.

 

It sounds better in Creole.

 

From the same CD, here’s a great politico-religious song about the earthquake, which some have called “Sekous Jistis,” or the earthquake of justice. The song is called “Mwen Pap Janm Konne” (“I’ll Never Know”).

 

VIDEO: Jose Feliciano



Star Spangled Banner-Jose Feliciano (story and 1968 video)


This is the story of the very 1st personal version of the Usa Anthem, before Jimi hendrix, Aretha Franklin or Marvin Gaye ray Charles Whitney Houston. This version however destroyed his career: american radios, press and record companies stopped to play his records and boycotted his career, a career af a true genius then never has received all what he deserve

Jose Feliciano
Oct. 7, 1968
Puerto Rican blind singer/guitarist Jose Feliciano stunned the crowd at Tiger Stadium in Detroit, and the rest of America, when he strummed a slow, bluesy rendition of the national anthem before Game 5 of the World Series between Detroit and St. Louis. The 23-year-old's performance was the first nontraditional version seen by mainstream America, and it is generally considered the Lexington and Concord of Star-Spangled Banner controversies. The fiery response from Vietnam-weary America was not surprising, considering the tumultuous year for American patriotism. Good or bad, however, Feliciano's performance opened the door for the countless interpretations of the Star-Spangled Banner we hear today.

Jose Feliciano - The Thrill is Gone



Jose Feliciano - Flight of The Bumble Bee



Purple Haze - Jose Feliciano Live in Mumbai-2008-8



Jose Feliciano - Hard Times in El Barrio




 

VIDEO: The Best Of Soul Train (3 DVD) (2010) - Trailer




aalbc | August 28, 2010

Available for purchase at AALBC.com: http://runt.it/soultraindvd

3 DVD SET: Over 5 hours of Soul Train performances, plus over 3 hours of fabulous bonus material. 

THE HIPPEST TRIP IN AMERICA - ON DVD FOR THE VERY FIRST TIME!
Time Life commemorates the 40th anniversary of an American institution with our release of 'THE BEST OF SOUL TRAIN' 3-DVD set that celebrates the innovative, culturally influential TV music show that featured one-of-a-kind superstar
performances, outrageous fashions, hip dances, and the iconic Soul Train dance line. 
'THE BEST OF SOUL TRAIN' features an amazing and rare collection of performances from the Soul Train archives, many of which haven't been seen in over 30 years, including exclusive performances by The Jackson Five, Marvin Gaye, The O'Jays, Smokey Robinson, Aretha Franklin, Stevie Wonder, Sly & The Family Stone and more. 
Viewers will re-live the original dance styles and scene-stealing fashions from the heart of the '70s as well as favorite moments from the Soul Train Dance Line and the Soul Train Scramble Board. We've also included on-air interviews with the artists, classic Soul Train dancers, and even retro commercials for Ultra Sheen and Afro Sheen products.
This collection features the best moments from several original Soul Train episodes: 
-50 songs and performances from Soul Train's most acclaimed era (1971 - 1979)
-Plus more than three hours of bonus material including exclusive interviews with Don Cornelius, Smokey Robinson, Jody Watley and others.

Highlights of 'THE BEST OF SOUL TRAIN' include:
-Smokey Robinson and Aretha Franklin singing a duet on Smokey's hit 'Ooo Baby Baby' with Aretha playing the piano. The two also reminesce about growing up as friends in Detroit.
-Sly & The Family Stone performing two of their classics: 'I Wanna Take You Higher' and 'Dance To The Music'
-Stevie Wonder performing three of his monster hits live in a phenomenal, intimate medley: 'I Wish,' 'My Cherie Amour' and 'Sir Duke'
-Barry White on stage performing with a full orchestra
-Marvin Gaye and Don Cornelius playing one-on-one basketball with Smokey Robinson refereeing 
-Ike & Tina Turner in a blistering version of 'Proud Mary'
-Plus, The O'Jays, The Spinners, The Chi-Lites, The Temptations, The Four Tops, The Stylistics, and dozens of other legends of soul