A response to Night Flowers: An Evening with Jomama Jones
By Ryan Diaz

All the new thinking is about loss.
In this it resembles all the old thinking.
—Robert Haas, “Meditation at Lagunitas”

I didn't know it at the time, but Jomama Jones knew I needed to talk. More than that, she knew I needed a good talking to.

Jomama Jones

the voice is heard  and felt
and enters  before  the body

the voice haunts while still alive
ooooh ooooh oooh 
in the distance from the ether
it resurrects us 
before the body has come 
into being before us

When you think of girlhood you may think of rosy faces with a golden shine on the cheekbones.
Pyramids of giggling girls often sauntering like kissing babies and screaming and squealing when delighted. Or maybe the failed attempts at dyeing our hair pink and bloodstains on the sheets when we wake up in the morning.

It makes me sad when I learn that in the first world country 
there is such a thing as pink-collar job, you know
And it makes me sad to learn that that kind of job is paid even shittier 
than blue collar job you know

By Ryan Diaz

Belarus Free Theatre: Burning Doors (photo: Alex Brenner)

Belarus Free Theatre: Burning Doors (photo: Alex Brenner)

three rusted doors are centered on a blank white wall
the doors are closed
the doors are locked
the doors are not on fire

Belarus Free Theatre: Burning Doors (photo: Nicolai Khalezin)

Tesseract invites us to move beyond two dimensional shapes into new dimensions and mysteries. Of course, the director, Charles Atlas, is there to assist you with the 'seeing,' with 3-D glasses. The experience is separated into two distinct segments. The movement, however, is continuously mediated, superimposed and purposely broken up by images and patterns.

In the first segment the movie collapses and expands space, with the movement serving as only a reference.

Photo: Ray Felix/EMPAC.