Fiction or so, Plays, Works in Progress

Play:

“A Couple of Good Copy-Editors [sic]”

(or, Beady Yes’m)

“A Couple of Good Copy-Editors [sic]” explores a young woman copy editor’s concern and fascination when she and her male copy editor coworker sneak late at night into their office, the publisher of “Ending Violence Everywhere”, or “E.V.E.,” newsletter–to discover their pair of editors passed out in full bondage gear in the copy room. Over their leather-clad bodies, she espouses her morals, questions them, and argues with her fellow lowly copy editor colleague, with whom of course she “vascillitates” in and out of a solely work-centered relationship. The show culminates in, well, I won’t spoil it, but she and he experience multiple feminist political repugnancies and simultaneous liberation, plus, everyone’s a little queer for toner, right? She essentially embodies the sex culture wars, from Dworkin and MacKinnon to Camille Paglia and Pat Califia, though the latter are perhaps more attributable to the mise-en-scene of the freeze-frame editors-in-chief in leather.

 

The play is currently under revisions from its college production at the University of New Mexico in the Robert M. Hartung Words Afire New Plays Festival.

 

 

 

a-couple-of-good-copy-editors-play

Aside
Articles and Essays, Happs!, Reviews, Words & Works of Others

Urgent Recommendation: Claudia Rankine’s CITIZEN

CITIZEN: An American Lyric by Claudia Rankine

Not racist? Hear, listen, and grasp social and race issues with the renowned author, playwright, and poet. “I don’t think we connect micro-aggressions that indicate the lack of recognition of the black body as a body to the creation and enforcement of laws.” Claudia Rankine said last fall in BOMB.
Wait, what’s a “microaggression”?? These words matter.
CITIZEN: An American Lyric divulges and dissects day-to-day, often sub-surface racism and its effects beyond the moment. Her fifth poetry book, it made history, nominated for two National Book Critics Circle Awards, for Criticism and for Poetry; it won the latter, along with the NAACP Image Award, PEN Open Book Award, and others, and is the only New York Times nonfiction bestseller of its lyric kind.
CITIZEN calls out in solidarity if you’ve ever been run into by an armored tank of racial marginalization or been caught in a nasty traffic jam of intersectionality. Rankine calls you to action if you give a hoot or are susceptible to participating in systemic racism. Cultural theorist Lauren Berlant described in the BOMB interview, “Citizenship involves metabolizing in the language of your flesh what you call the ‘ordinary’ injury of racist encounter.” Rankine’s prose details scene by the millisecond, along with internal reaction, piling on inevitable, immediate, smacking social resonance in fell swoop after fell swoop. Each scene rounds out with that “metabolizing” as it happens, or as its consequence plays out within black bodies and minds constrained by white hegemony and apathy.
Los Angeles’ Fountain Theater produced an adaptation in August, spotlighting the versatility of CITIZEN and Rankine’s multi-form and -genre work. Her dialogue and descriptions came to life on stage particularly smoothly: The ensemble cast rove among different characters, black actors facing white actors, playing out scenes of surprise verbal, contextual complicity or attack and slow-motion, time-stopped response, outburst, or restraint. Sitting, watching in your red theater seat became complacency; cringing and squirming in it were not enough.
In interactions of daily and professional life, how can white people stop colluding to enact racism, even if unintentionally? How can all people not commit and not accept racial microaggression? Recognition of such words and acts is a start.

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