In such a short time we have achieved so much, from 2013 to right now 2018. We have established an amazing organisation that represents Us Mob in the literary world. We have put some fantastic strategies in place that have reached out not only nationally but ato the other side of the world.
Wood manages to turn a review of Kent MacCarter’s recently released collection California Sweet, published by Five Islands Press, into a jeremiad bemoaning an apparent crisis of opportunity instigated by his own experience of rejection from ‘a nationally prominent, poetry-specific publishing house.’ Inauspicious, but it gets worse.
Access and sustainability go hand in hand. The harder it gets to sustain a career in the arts, the more we will only see work made by the young and privileged, and a narrow band of established artists who slot easily into funded or commercial success.
We – none of us have understood what dreams meant, none of us have had childhood, none of us have understood what life is, none of us have had wishes, because we have all been struggling to find some place to breathe, to stay alive, to fill our empty stomachs.
In 1974, when Lanzmann had started filming his 350 hours of interviews, Holocaust cinema was the domain of European filmmakers such as Liliana Cavani, Louis Malle, Lina Wetmuller and Joseph Losey, pondering amnesia, conformism, class, and deep Freudian studies of the effects of totalitarianism on the psyche.