Two Stories from Shoes for Oscar Night

The Daughter of the Last Mohican

by Melina Kamerić
translated from the Bosnian by Jennifer Zoble

Her mother made candles. And that’s why Davorka always smelled like a strange blend of wax and the powdered sugar her grandma sprinkled on šapice, the little round cookies we lovingly called paws.

Davorka’s grandma made the best šapice in the world.

Every day when the two of us came home from school with our bookbags on our backs, her grandma would give us each a šapica wrapped in a little cloth napkin. It seemed then that all her grandma did was embroider little cloth napkins and bake šapice.


A Thousand Years, One Day

A Thousand Years, One Day

by Edmond Amran El Maleh
translated from the French by Lucy R. McNair

“Paul Celan: no one bears witness for the witness. And yet we always
choose a companion: not for ourselves but for something within us, outside us, that needs us to be
lacking in ourselves in order to cross a line we will not reach. A companion lost in advance,
the very loss that henceforth takes our place. Where do we look for the witness who has no witness?”

Maurice Blanchot, The Last to Speak


The war in Lebanon! June days, summer days under a Parisian sun, hot, torn by violent storms. The war in Lebanon! Was it real?

A man was holding a journal of which we know nothing, nothing but a few fragments, as if, with an incomprehensible gesture, his own hand had torn it up and scattered the pages. Reading at random, decoding absence: an anguished scream fanned out in that space of retreat, powerless before the irreparable, the vanity of speech, the triumph of hatred, an inexorable closure. By sheer coincidence, a mark, a name had escaped from silence and anonymity: Nessim. (more…)

To Die on the Back of a Horse & Ducks

To Die On The Back Of A Horse

by Kim Cheom Seon
translated from the Korean by Matt Reeck

I died on the back of a galloping horse. As a corpse I fell to ground. This happened in my past lives. I died like this not just once but countless times. I died each time before I was twenty. After years of hard training to become a warrior, the very first time I went into battle I would turn in the enemy’s direction and die. This was because I was very brave. I was the type willing to go through hell and high water. Disregarding the flying arrows and spears, I would rush headlong toward the enemy and die. I died like this each time. I never made it to thirty. My soul never knew what it meant to live past twenty. (more…)

Staging Ground Presents 3×30

Three 30 minute performances. Live sound effects. Theatrics. 7 floors of escalators. Architectural
ambiguity. Words. Worlds. Chairs and other potential furniture. Magazines.


Rob Erickson

Rob Erickson
Holding Handles

Dale Perreault

Dale Perreault

Mac Wellman

Mac Wellman
Horrocks (and Toutatis too)









Wednesday 4.17.13
7:30 Performance.
7 Doors.

Maroney Theater
St. Francis College
182 Remsen St., 7th FL
Brooklyn, NY 11201

2345ACFGR train access

View Staging Ground Presents in a larger map


Rob Erickson
Rob Erickson, Holding Handles
full beauty. what else is fully beautiful? i do not know; … (more)

Dale Perreault
Dale Perreault, Sculpitekt
Matt Reeck (Director), Jack Trinco (Mason Decanter), Stephanie Lane (Aether Decanter), Matthew Schechter (Sculpitekt), Cara Maltz (Announcer), Yury Shubov (Band Leader/Violin & Viola), Jeff Hodes (Clarinet), Alexander Rea (Percussion)
Furniture In Ibsen
Hedda Gabler is funny. She is. In the translation I read. On jury duty. The second Bush inaugural… (more)

Mac Wellman
Mac Wellman, Horrocks (and Toutatis too)
Elena Araos (Director), Erin Mallon (Actor)
The most beautiful thing in the world is a random assortment of unrelated objects (Heraclitus).… (more)



Staging Ground Interviews Joanna Sondheim

from Transfer

if spoken open hands of those who are watching

will pass on and therefore remains 

and order actions left behind      enscripted or

piety of mannered love    to be tied    graced upon

bequeath addendum 


SG: Many of your poems are ungrammatical in a traditional sense. How do you conceive of the relationship between grammar and meaning?

JS: For a writer, I think the use of grammar is similar to the way in which any kind of language or syntax choices are made, in that those choices are used to support the work, whether that is done through a more traditional plot structure, or narrative, or through the breaking up or questioning of more standard scaffoldings. In my own writing, I’m often thinking about the ways that stories are re-told or re-remembered and I feel like my use of grammar or language is done with that kind of re-construction in mind. In a very simple way, though, the choices of structure and language come about unconsciously, and while I revisit and edit the writing, often what comes through in the initial process winds up being supported.


SG: One theory goes that a person’s art isn’t an extension of their known personality but a counterpoint or an exploration beyond what life otherwise offers. I.e. a voluble writer is quiet among people, or vice versa. (There are other theories, of course.) What do you see as being the relationship between the phenomenon of personality and the space of a person’s art?


Staging Ground interviews Nicholas Mah

SG: Materiality is one quality more often evident in old analog photography than in the hyperreal ephemerality of the digital print. Though digital, your photos have a rich material—almost mineral—quality to them. Could you explain the techniques you used to create these photos and their rich layered sense of material life?

NM: An integral part of my approach to photography is creating a tactile sense from a two-dimensional space, whether working in digital or analog media. I agree that traditional/analog photography does have a more material, or tactile, feeling. There are some physical factors that contribute to this, such as film grain and color depth, and these can be borrowed or mimicked to a certain extent with digital photography. In this series, I have scanned, at very high resolution, textures created from manual photography processes and layered them into my work, effectively reproducing some of the more esoteric characteristics of analog imagery. This begins the process of subtly tricking the mind into reading the picture as something other than a digital representation of reality. Another way I have achieved this effect is taking prints and manually distressing them with chemicals. Next, because the subjects are presented with a great amount of detail, the viewer is physically drawn closer to the image. The creatures, though apparently fantastic, have the kind of rich depth that the mind automatically associates with reality. When layered with the analog textures, the illusion is nearly complete. So I’m intentionally making choices that trick the brain on a subconscious level, and that’s fun.


Launch Launch Launch Launch!

Staging Ground launches its first issue into the world! Come join us to celebrate on Saturday, October 13th from 4 at Bar Reis in Park Slope.

(Bar Reis is located at 375 5th Avenue, between 5th and 6th Streets. The party will be downstairs, so don’t be shy.)

There will be magazines for sale at a discounted price of $10. Poets Emily Beall, Travis Macdonald, Pam Dick, Alex Cuff, Joanna Sondheim, Lewis Warsh and Lou Asekoff will read. Filmmaker and poet Stephanie Gray will show her silent 8mm films. Liquor will be available, conversation will be unlimited.