For those members of a given demographic made uneasy by the idea of eventually becoming just one more minority in America, an abbreviated mind taking note of the evolving dynamics could react with overwhelming fear. The carnage inflicted by Dylann Roof in Charleston, SC, just last month may be considered one such case. That demonstrated by the Norwegian Anders Behring Breivik in 2011 illustrates how analogous scenarios are playing out across the globe. The idea and reality of losing  previously-held political power and privileged authority based on racial domination could (some would say apparently does) encourage violence against  those perceived of as a threat. Certainly the ongoing violence inflicted upon  unarmed African-Americans by armed White-American policemen ––the latest most  visible cases being that of Sandra Bland in Waller County, Texas, and Sam Dubose in Cincinnati, Ohio, does very little to suggest otherwise.   From the opposite end of the  undulatin

“The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence…” ~Toni Morrison, 1993 Nobel Lecture in Literature This segment of Creative Flexibility and Annihilated Lives is published in partnership with Voices Compassion Education . Like many authors I dive headlong almost every  day into a torrential flow of words sparkling with possibilities. I then work  to extract from that linguistic flow a collective of sounds, imagery, ideas,  and entire compositions capable of offering relevant reflections of the world  experienced both inside and outside my own head. Such a mindful exercise in  disciplined creative passion tends to focus my thoughts more on striking a  balance between the unyielding clarity of prose and the seductive allusiveness of  poetry than on the demands of managing a public image. 

“He got kicked in the back He say he needed that He hot willed in the face Keep daring to motivate…” –– from the song History by Michael Jackson Upon the launch of the Guerrilla Decontextualization website in August 2012, the concept that inspired it was defined primarily in ultra-modern technological terms. Examples of the practice included the following: short clips from longer videos presented as definitive statements of an individual’s beliefs, photographs of private moments marketed for public entertainment, and statements made decades ago reported on the evening news as though they were made just a few hours earlier. All were instances of events removed from their original context for the purpose of fulfilling an undisclosed agenda. The result often went beyond simple defamation of character, which is generally defined as any knowingly erroneous communication that damages an individual’s or organization’s reputation. By insidious contrast, guerrilla decontextualiz

Cover of first edition of I MADE MY BOY OUT OF POETRY featuring original art by celebrated New Orleans and New York artist Gustave Blache III . Recently I found myself on the verge of crossing over from ambivalence into guilt due to the amount of time and creative energy devoted this year to online journalism and other forms of prose-writing as opposed to a more luxurious immersion into the rich flow of poem-making. There were actually at least two instances in 2012 when I managed to combine the genres: the first came in February when writing about the death of WhitneyHouston and the second came, ironically enough, in August when writing about the life of one Michael Joseph Jackson. Although the poems included with the stories can stand well enough on their own, the fact that they were generated by journalistic concerns instead of employed as an initial means to a necessary end in themselves made me feel somewhat negligent. After all, where journalism was concerned I had

                        Republican presidential nominee Mitt Romney . (Reuters photo by Jim Young) Supporters of Republican presidential candidate Mitt Romney at this point can claim with some justification that the media’s treatment of his “47 percent” comments, made at a private fundraiser in May in Florida, fall solidly in the category of guerrilla decontextualization. Yet, of all those powerful men and women who might have flocked to Mr. Romney’s defense in the wake of the PR nightmare that followed, only his running mate Paul Ryan did so with any kind of half-way convincing persuasive immediacy. Many former allies of Mr. Romney are now in fact performing that odd horizontal shuffle called “distancing” that politicians sometimes do so well when the word “stigma” threatens to attach itself to a colleague.  Such tends to be the case whether said colleague is wealthy, powerful, handsome, ugly, or none of the above. Please click the link to read the full article by Abe

                                  Author Philip Roth in New York City . (Reuters file photograph) In his September 7, 2012, “Open Letter to Wikipedia,” acclaimed author Philip Roth made an appeal to the editors of Wikipedia. Posted in his blog for The New Yorker , he asked them to correct a statement he identified as misleading in the site’s article on his novel, The Human Stain . Roth––whose literary honors include a Pulitzer Prize, American Book Award, and Man Booker International Prize––stated the following: “ The entry contains a serious misstatement that I would like to ask to have removed. This item entered Wikipedia not from the world of truthfulness but from the babble of literary gossip—there is no truth in it at all.” He noted further that he had attempted through an official interlocutor to address the issue but was informed that site administrators required “secondary sources” to verify the proposed corrections. “ Thus was created the occasion for this open

                               ( Photo of late actor Michael Clarke Duncan by Ethan Miller for WireImage ) Since his emergence during the 1980s and 1990s as a master of horror and suspense, author Stephen King has enjoyed popularity among a racially diverse reading audience. His popularity among African Africans likely ticked up a notch when his novel The Green Mile was made into a movie in 1999 and the late Michael Clarke Duncan brilliantly brought King’s character, John Coffey, to awe-inspiring life. Duncan, who died September 3, 2012, at the age of 54 from complications following a heart attack suffered in July, received an Academy Award nomination for the role. Moreover, he actually won the Saturn Award, Black Reel Award, Broadcast Film Critics Association Critics’ Choice Award, and Southeastern Film Critics Association Award for his performance. The accolades that rained upon Duncan and the fact that he earned himself a spot among Hollywood A-listers di

Image still from the video-poem Notes for an Elegy in the Key of Michael . “It’s very important to keep the historical context in mind as you contemplate the nature of love and service required in the 21st century.” –Cornel West, Hope on a Tightrope To what extent might the phenomenal entertainer and humanitarian Michael Joseph Jackson have been the target of an extended guerrilla decontextualization campaign throughout the second half of his life? Hardcore devotees to Jackson’s music and altruistic humanitarian vision would say there can be no question that he was targeted in such a manner. Hardcore doubters might say maybe he was the one doing the guerrilla decontextualizing through the evolving manipulations of his public profile as a performance artist. They point to his chameleon-like shift from a distinctly afrocentric appearance in one decade to androgynously multi-ethnic in the next, and in his final years to an almost ethereal projection––a figure solidly in

“It has become appallingly obvious that our   technology   has exceeded our   humanity …”  -- Albert   Einstein Guerrilla Decontextualization is a study of trends in social media, mainstream media, and general human conduct that focus on the practice of intentionally distorting images or information for the purpose of gaining influence or popularity. Examples of it are easy to spot in some 2012 political campaign ads when a candidate for a particular office tries to dig up dirt on another candidate and uses certain phrases from interviews (as well as private conversations) or excerpts from a video, to make it look as if that one phrase or image tells the whole story. It may be that the only true or accurate context for any given event––i.e., the birth of an idea, a conversational exchange, a clash or embrace between two or more entities–– is the moment in which it occurs. Everything else is a slanted interpretation, leaning either more toward or away from unadorned reali

                                                  Rev. Jeremiah Wright (press release photo) “…Y ou are looking at the miracles and missing the meaning behind the miracles.” --Rev. Jeremiah A. Wright Guerrilla decontextualization is a somewhat ungainly term that falls more out of line than in line with similar coined phrases such as: guerrilla marketing, guerrilla filmmaking, or guerrilla street artist. These comparable terms have in common ideas of creative expansion or independent expressiveness. Guerrilla decontextualization on the other hand belongs on the more sinister lexicon family branch of the term guerrilla warfare. It can be defined as the practice of extracting such elements of media technology as video clips, sound bites, and manipulated images for largely two purposes.  One would be to intentionally misrepresent an individual’s character or intentions in order to decrease any measure of influence or authority they might possess in either public or