This book features a classic masterwork literature by Nathaniel Harrington Jr, and is published under the imprint of AM. A serious subject matter not about HIV/AIDS, but offers a glimpse of criticism in eloquent brushstrokes with piquant perspectives on the treatment, conditions and tragic circumstances during the young adult years of Nathaniel before he became a Hearing Rights Judge and Criminal Justice Lawyer...with a brief Afterward by Judy Bebelaar a local author, educator, mentor, poet, and teacher since the 1960s.
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If you want to speak with some of our members who are self-empowered and experts on the life experiences and knowledge about a number of topics and also on #AIDS, #Social Change, #Health, send your inquiry via email and note in the header Subject Matter or contact via phone.
Place an Order on the book you are interested in purchasing. The amount of the titles are at a higher price point. However, there are #limited number of #books on the market. Purchase as soon as possible as the price point of each product is based on principle reflect also the losses and decades of #work and #labor on the topic of #AIDS and by pioneers. We value our work and the labor of the author and early #artists, #participants, #creators, #cultural workers, #writers plus aka #advocates of the first literary play and work on women #HIV/AIDS.
We also value our supporters and actors of decades. If you want to support them they are not only actors but also longtime supporters who have been on the frontlines before it became Vouge. Do not forget the work they have generated. If you are trying to reach them or past organizations or actors or readers of the 1980s also contact them directly or their agents. June 5th 2021 update
13:00 and 14:00 on 27 January 2021
Announcement First Generated
Media | Release to Public | Drive by - Mention or Credit 28 January 2021
Queen of Grace announces The Communal Plays and Other Narratives.
This limited-edition release challenges readers with haptic-optical illusions of glitch art and writing processes creating artworks as part of a distressed interior dated text. Over many decades of interruptions, so much so that a rigid but loose grided relationship to structure and syntax perhaps wraps around a para-lingual writer-ly mood, goes a long way, baby.
Additionally, a Reader's Edition of another work also offers the second edition of landmark work while welcoming all seasons readers of adult age; a spoiler is some words that seem not to affect this generation as it once did in the distant past. Something your chaperons would forbid you to say in private, let alone in public. Shame is no longer a word to think about as you have to read to determine what's sacred or profane. Precisely what the word conjures are taboo topics like Euro-pean and blood and identity broke Pidgin and Jim Crow South's terms no longer private matters are left here as eras of time. A wintry season leaves autumns waiting to turn yet another page of history in a limited way. The collections' work even encourages readers to take out a ruler and measure errors that might lead to your North even if you were going South.
The collection spins viewers' attention to observe the efforts taken to publish a book, let alone experience the grit to write. The art object waits for the lover to hold its gaze reading as you count ten commandments: Sin not, but to be or not is to err leaves the reader wondering: is the auteur mort or alive? Is the book morceau, or will the margins implode a collapsed past, path cantering hooves of horses carrying a Victorian wolf Queen to the rhythms of a wintry storm once flooding regions north of the south in out of the USA?
When the artist first started writing the core collection, the work with a book proposal sat marinating. One reason is the writer yields to process over product. Decades past when the HIV/AIDS pandemic first hit the landscape. Many died and lost their lives (and they did not finish their work). We find ourselves mourning so many ancestors' lives, with forced moments reassessing meanings of historical memories enough to wake a solemn state of heightened consciousness as the dead here not forgotten; the collection pays homage with honors offerings to the gods and deities Lagniappe translations.
Art featured: "Untitled Blood Ties" Courtesy of the artist and Artists Rights Society, (ARS), NY
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Please keep in mind the context of these facts already happened.
During and before the '80s, a developing genre out of the pandemic led to wide-ranging mediums of activism. The nation and the world call to action arrived with swift social and cultural change. However, it was a plethora of the work built on a foundation of interviews, oral stories, research, travel, personal, political, and creative imagination initiated a form of critical seedlings of education that parted knowledge to many communities.
One of the first public appearances of notable works found its way to hallmark venues. This platform allowed others access to witness the depth and scope of the many works whose distinct underpinnings would continue to at forging ancillary and landmark events.
When Harrington and colleagues learned that New York performing arts critic, Bill Jacobson was assigned to cover the 6th AIDS Theater Festival and participate with more than one of the panels, as Tavera wrote a draft, and later official communications, by phone, led Tavera to meet up with Harrington. He also contacted other participants, informing us that more event[s] would take place … as written in one of the archives state: In Conjunction with the 9th National AIDS Update Conference in Association with the 4th Latino(a) AIDS Theater Festival... in a line item Tavera continues, Dedicated to All Performers Living With HIV. Preserved Excerpt #1.1
As this labor and organizing [protest] took place in San Francisco, around the world people fought and organized for their lives and that of others. Many thousands slow to quick, died. Meanwhile, in upstate New York, at the helm of editor-in-chief, David Waggoner sent Jacobson, who upon entering the space, like Tavera, Jacobson and Waggoner brought social warmth, presence and professional grace, continued coverage of the expansive line-up of various events. Pioneer, innovator, Tavera, and his team of co-workers (cultural workers) titled one of the panels: The Genre Of AIDS THEATER: From Street Theater to Broadway. This mention is only a shortened version of the communication and vision Tavera had. If he and, as well, Jacobson (and many others we lost) were here today, we could say: they would continue spearheading the way for the next and future generations to have a voice and [safely] widened the roads paved.
Tavera made the ingredients a chance meets alchemical because Bill Jacobson and others changed the course of history in how the conference public would hear the words of the contributors' writing about the pandemic. The same as Waggoner and his long-time staff and managing editor at A&U Magazine, who also published several other varied works by artists and writers, which include an excerpt of the first literary play that had been missing from the discourse and in the history of the HIV and AIDS pandemic that Harrington documented on the multitude and complex issues women were and in varying degrees are faced with today.
In the plight, by now, and we are talking about in context to this issue, Harrington contacted a now research scientist to see if she would join in as co-editor on the what would years later become the first anthology on women in the pandemic. The call to the other writers - authors, and all the other Players took place over a short, but long period. Important to note: Love & Dangers' early writing process days were first developed out of poetry and turned into a playscript that was sent around the country looking for a home and support. However, the trajectory of now [other work] and since then further developed continues.
While Jacobson started documenting the festival, perhaps evidence in the trajectory of Harrington, as well [a few] of the other writers published in the first anthology may agree that access to the conference offered audiences is more than performance, but also education. The theater festivals organized by Artistic Director Hank Tavera doubled impact, as a number of the participants found a way to continue uniting voices. Had it not been for the three-plus men, (and formerly titled (SFIAC), who knows where the work today would have landed.
Furthermore, while planning for the anthology took place before the conference, it was after the conference when dialogue (with specific supporters who stepped up in real-time) revealed the Call to Action (in our authentic ways) did and could not Stop. However, after the conference, the largess oeuvre vision of performances at the festival organized by Tavera...events as Harrington and a few others knew them, ended. It is also when the new beginnings for these pioneering writers, advocates, activists, and Communal members and emerging pro artists also prospered.
At the time, the call for submission from Tavera for an essay recalls that upon contacting Tavera and in that phone conversation, Harrington was given the names of some of the first core contributing writers. Harrington then invited them to participate in the first anthology of its kind. The authors (as most of all the contributors) already had their vision and work. Most already established and became founders. One of the reasons the work went onto publication is because the authors also had already addressed the topics of that eras' importance. Nonetheless, these issues many communities and generations faced when others had not taken up, at least not as we ventured; specifically with the topic associated with HIV/AIDS.
Today, as some of us also witness protest -- with respect -- we cheer them on too, but for the pandemic, its multiple factors all complicated topics and the subject of themes shared has not ended. In fact, for many such lives and the privilege it is to write and create even when interrupted, as many of us - never stopped our processes addressing the divergent plight of women and the need for social, political, and even cultural change.
Our First collectors' edition titled
Positive/Negative Women of Color and HIV/AIDS anchor voices of those who died lived and had been marginalized or accomplished, but whose work was also not categorized since the early days of the pandemic that struck fears and nerves of many, few had thought of the importance of women's voices, and as an area to address. Such topics that were difficult to explain to a young adult, let alone those who didn't understand the complexity of the pandemic. The line of thinking as a continuum of work helped create space for those left out. Nonetheless, in such absence we found that inside our first collection, the brilliance of all work came from our distinguished older and young adults who wrote raw and captivating topics about the times of the '80s. And without having lived during that era this generation, their knowledge was relevant to then and remains justly so, now. Who knew that youth of that generation and our collaborating writers and artists would manifest the work we brought together? Who knew that the established rare collective of voices would be a part of the educational human rights journey?
Who knew we'd have some Greats in our Front Row? Who knew the young adults who wrote for the first collection would grow to write monologues and poetry?
The first collection was the turning point. We started a book collection collective, out of that Harvest came sweet blossomed cherry trees birthed beauty, captured in the years when the pandemic first struck. The work has gone onto to critically acclaimed yearning for yet other work.
End of excerpt
Education and Literacy Continued
Courtesy of artist[s] and (ARS), Artists Rights Society, New York; (Art in context) Inquire. Narrative, symbols, art design, assemblage minus poetry, other writings, and text, (TCP) The Communal Plays. Original archival photos are the property of Antiquity Mapped, and select artists and writers, and some include a few site supporters.
Antiquity Mapped [North-South-East-West]
We are excited about the three years, plus (decades) anniversary Pilot continuum, our ongoing and upcoming pilot project[s]. Calendar information may be posted as announcements or presented as highlights. Some of which noted specific events, offering moments and experiences and activities that include but are [not] limited to the performing arts, science, travel, research-based education [and] with a focus related to aspects of work archived, developed, documented, and disseminated over the past 34+years.
Today, since the posting of this site three years ago addressing the '80s, and if not ever before, once again, [we are] faced with a critical time in our history, and it is fundamentally affirming to celebrate the good we accomplished and [especially of decades] ago. Also, the importance of acknowledging the collaborators and continued publishing works that spun the base for other work. Much of which was from years' past that today evolved into the shifting present-day of the 21st Century.
The work/labor took place when [many of us worked at no or low wages, and in some cases no wages at all]. Yet, our work served more than one objective. Frontline work was one part of that trajectory. It helped create discourse on difficult topics that historically in a cultural context as (for some of us) our work had not reached the mass public as it could have.
The first anthology Positive/Negative was the tipping point. It helped generate a movement of its own; it highlights topics that today are now coming to the public's consciousness; it improves knowledge learned; it sustains work created and continues to impact social and cultural change, now is the time. We got now to work together and continue to change in the world.
The first collection of plays address not only women, but also men, mothers, and youth and seniors, on the nature of what impact HIV and AIDS had on the landscape of the diverse range of communities. The themes
and subject matters are not static nor limited to HIV and AIDS. Its scope explores a diverse range of [political, social, and critical] topics.
One of many projects generated preserves archives, but with both interruptions and disruptions, yet the work reveals evidence that spans decades.
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One mission is driven by the historical lack of access over the (decades) and yet current and, new works made visible, in most cases, are also just and germane to (social change).
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Notices and weekly posts informed a specific and host of private and long-term supporters [content] as what was, in most part, Reciprocal. However, in February of 2020, all online communications archives halted. This Hybrid Pilot Project has to continue re-assessing its needs of a lot and alliances (as some have passed away) and other dynamics of growth and change encourages that this project continue reassessing is ability to survive and to re-consider its possible next steps that will determine how long we may continue working together or not.
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Due to the current Pandemic[s] and Epidemic[s] and other factors, we are not Trekking as before. New Releases for the [Readers, Writers and Creators Society] Due to 'COVID-19' and few other factors, work is archived, preserved and delayed.
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