WEBVTT

00:00:00.000 --> 00:00:04.440 align:middle line:90%


00:00:04.440 --> 00:00:06.260 align:middle line:84%
I'm going to start by
reading the epigraph.

00:00:06.260 --> 00:00:09.360 align:middle line:90%


00:00:09.360 --> 00:00:12.780 align:middle line:84%
I want to wake every
morning into love,

00:00:12.780 --> 00:00:14.910 align:middle line:84%
where love is the
question of how

00:00:14.910 --> 00:00:18.810 align:middle line:84%
I'm going to help you get
free, where that means whatever

00:00:18.810 --> 00:00:21.500 align:middle line:90%
it needs to mean.

00:00:21.500 --> 00:00:24.410 align:middle line:84%
And beneath that,
there's a second epigraph

00:00:24.410 --> 00:00:30.230 align:middle line:84%
which I wrote in just for my
personal copy from an essay

00:00:30.230 --> 00:00:34.970 align:middle line:84%
by the writer Fargo Nissim
Tbakhi and his piece

00:00:34.970 --> 00:00:38.330 align:middle line:84%
"Notes on Craft: Writing
in the Hour of Genocide."

00:00:38.330 --> 00:00:43.010 align:middle line:84%
It's an essay that begins with
a question, "What does Palestine

00:00:43.010 --> 00:00:45.710 align:middle line:84%
require of us as writers
writing in English

00:00:45.710 --> 00:00:51.110 align:middle line:84%
from within the imperial core
in this moment of genocide?"

00:00:51.110 --> 00:00:52.470 align:middle line:90%
I usually don't read these also.

00:00:52.470 --> 00:00:54.350 align:middle line:84%
But I will today because
I have so much time.

00:00:54.350 --> 00:00:56.510 align:middle line:84%
The essay is
organized in sections.

00:00:56.510 --> 00:00:58.520 align:middle line:84%
And I've written all the
section headings down.

00:00:58.520 --> 00:01:01.290 align:middle line:84%
And so I'm going
to read those two.

00:01:01.290 --> 00:01:02.420 align:middle line:90%
One.

00:01:02.420 --> 00:01:05.780 align:middle line:84%
Craft is a machine built
to produce and reproduce

00:01:05.780 --> 00:01:07.020 align:middle line:90%
ethical failures.

00:01:07.020 --> 00:01:09.615 align:middle line:84%
It is a counterrevolutionary
machine.

00:01:09.615 --> 00:01:10.115 align:middle line:90%
Two.

00:01:10.115 --> 00:01:13.310 align:middle line:84%
To write in solidarity
with Palestine

00:01:13.310 --> 00:01:17.320 align:middle line:84%
is to write amidst the
long middle of revolution.

00:01:17.320 --> 00:01:18.340 align:middle line:90%
Three.

00:01:18.340 --> 00:01:20.890 align:middle line:84%
The long middle is the
state of orderliness.

00:01:20.890 --> 00:01:23.230 align:middle line:84%
Oppression so
pervasive as to form

00:01:23.230 --> 00:01:26.050 align:middle line:90%
an atmosphere we move through.

00:01:26.050 --> 00:01:27.280 align:middle line:90%
Four.

00:01:27.280 --> 00:01:30.940 align:middle line:84%
We must ask, what does
this require of us then

00:01:30.940 --> 00:01:33.910 align:middle line:84%
to write amidst the
long middle of Intifada?

00:01:33.910 --> 00:01:36.520 align:middle line:84%
What might it mean for
how we approach the page

00:01:36.520 --> 00:01:39.560 align:middle line:90%
as a front of the long war?

00:01:39.560 --> 00:01:40.820 align:middle line:90%
Five.

00:01:40.820 --> 00:01:42.920 align:middle line:84%
The facilitation
of this genocide

00:01:42.920 --> 00:01:45.740 align:middle line:84%
is contingent upon the great
discursive and material

00:01:45.740 --> 00:01:48.770 align:middle line:84%
weapon of the West, the
ontological categories

00:01:48.770 --> 00:01:51.800 align:middle line:90%
of terrorist and terrorism.

00:01:51.800 --> 00:01:52.940 align:middle line:90%
Six.

00:01:52.940 --> 00:01:55.130 align:middle line:84%
We should betray
craft by replacing it

00:01:55.130 --> 00:01:57.410 align:middle line:90%
with political thought.

00:01:57.410 --> 00:01:58.670 align:middle line:90%
Seven.

00:01:58.670 --> 00:02:03.200 align:middle line:84%
The craft of the long Intifada
is made and remade each day

00:02:03.200 --> 00:02:05.560 align:middle line:90%
by resistance.

00:02:05.560 --> 00:02:08.000 align:middle line:90%