The Most Inconspicuous Marks Kristina Lee Podesva

Theodor Adorno once argued that commas make for the “most inconspicuous marks.” 1 Yet in Antonia Hirsch’s Komma, which reprints Dalton Trumbo’s anti-war novel Johnny Got His Gun (1939) and inserts as well as illuminates these previously missing marks, commas are, by splendid contrast, marquee attractions. Set in white against a black background, they act as signals in a dark and obscure landscape. But they are not merely a matter of space, they are also a matter of time, punctuating a metric rhythm that spans the volume’s pages to sug- gest an abstract, visual score. They form alto- gether a code of alternate legibility, requiring, much like Braille, another sense of language for the perception and comprehension of meaning. Grammatically, the significance of commas lies in their integrative function, which pairs

i speakers with dialogue, Charting an improb- unlikely routes forward. “do anything” are the un- 1. Theodor Adorno, “Punctua- compiles inventories of able course through the The nihilistic urges that appetizing items on offer. tion Marks,” trans. Shierry Weber Nicholsen, The Antioch Review 48 items, and joins clauses timeless, placeless void of underlie militarism leave Who is there? Whom is (1990), 300. to one another. Commas Joe’s existence, Komma without a doubt a legacy there? Of Whom to who of 7 2. Dalton Trumbo, Johnny Got His do this paradoxically by could be read as a map, its of immovable agony. who to whom. Gun (New York, Philadelphia, and cutting off texts (in writing) commas acting as critical This is a war and war is Through Komma, Hirsch Toronto: J. B. Lippincott, 1939), 163. where pauses suspend signposts that facilitate hell and what the hell and so appears to circumvent 3. Ibid., 181. utterances (in speech). navigation through an to hell with it. Come on boys these limitations. Although Thus, as binding and ominous and totalizing watch this.4 the subject of war and 4. Ibid., 40. isolating agents, they can dark. The gaps between Strikingly, these nihil- the subjectivity of Joe, a 5. Boris Groys, Art Power (Cam- anchor and simultaneously these marks make pos- istic urges are the same critically wounded soldier, bridge, Mass.: The MIT Press, 2008), maroon. sible a kind of measure- impulses that inform the suggest case studies for 122. No matter how far you ment and comparison, gestures and goals of consideration, no one 6. Ibid. are separated from other which lend themselves to the last century’s artistic subject overrides another. people if you have an idea reference and, by exten- avant-garde.5 Boris Groys Rather, it is through an 7. Trumbo, Johnny Got His Gun, 159. of time why then you are in sion, relationship. This is observes in avant-garde articulation of location and 8. Gilles Deleuze, Cinema 2: The the same world with them to say that without shared discourse and practices of duration that relationships Time-Image, trans. Hugh Tomlinson you are part of them but if points of reference, there modern art an appropria- emerge, which in actual- and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), you lose time the others go can be no relationships, tion of military language ity constitute a continuous 82–83. ahead of you and you are as Joe himself determines and an advocacy of in-between space that left alone hanging in air lost during his permanent rev- destruction in the name links countless particular Kristina Lee Podesva is Editor at Fillip. to everything forever. 2 erie. Here, an absolute and of producing radically subjectivities: soldier to Limbless, faceless, and cruel autonomy presides new forms that annihilate lover to artist to mother nearly senseless, Joe that renders everything, previous iterations. The to co-worker and so on. Bonham, the protagonist apart from ego, into noth- avant-garde (in this re- While these links extend in in Trumbo’s novel, contem- ing. spect at least) overreaches, countless, complex direc- plates how he is time-less, No confetti no champagne moving beyond the task tions, they cohere around too. In a small, forsaken bottles no yelling no noise at of producing new forms to points in space and time corner of a World War I all.3 “illustrate, laud, or criticize that endow life with military hospital, he lies A less-than-zero-sum war as it did earlier” and meaning. In Cinema 2: The incommunicado, grappling game, war and its tenden- instead becomes an actor Time-Image, Gilles Deleuze with survival, isolation, cies and conditions lead to that “wages war itself.”6 declares that “[s]ubjectivity and sanity by working out invariably Pyrrhic victo- Today, artists no longer is never ours,”8 but what measures of time, piece- ries. For the soldiers and merely “illustrate, laud, or we share is duration, the meal, through painstaking citizens it entangles, dying criticize” war. Unable to experience of time. It is observations. Although represents war’s most compete with the media perhaps by connecting he ultimately succeeds peaceful conclusion, while machine that relays war’s Komma’s most inconspicu- in realizing a provisional surviving pronounces the documents and theatrics ous marks that we are chronometry, it is a lonely grimmest of sentences— to all available audiences, reminded to knit together system, known by no one a limbo in which joining artists are given a kind of a net of relationships wide other than himself, a man the dead and returning to restricted, prix fixe menu enough to catch us in our out of time. the living are remote and where “do nothing” or universal freefall.

ii iii

Christ Has Come Up From Tucson Maria Muhle

The title of Dalton Trumbo’s anti-war novel Johnny Got His Gun (1939)1 is derived from the rallying call “Johnny get your gun,” which was meant to encourage young men to enlist in the US army in the late nineteenth and early twen- tieth centuries. The novel itself was directly inspired by a news report about a visit by the Prince of Wales to a soldier who, having lost all of his senses and limbs during World War I, was lying in a Canadian veterans’ hospital. The book tells the story of the young American soldier Joe Bonham, who volunteers for war, leaves his girlfriend behind, and is severely wounded in combat. The narration starts with Joe’s memories of his father’s death, which he associates with the rhythm of a telephone ring- ing insistently. His inability to get up and an- swer the phone, like in a nightmare, gives way to Joe’s realization of his own present situation:

vii “He was a sick man and he would destroy this dream of tions. The lack of commas Within this frame, the won the Special Jury Prize. 1. Dalton Trumbo, Johnny Got His was remembering things. having no legs. Steamships in the novel emphasizes history of the book and its But unlike the novel, the Gun (New York, Philadelphia, and Toronto: J. B. Lippincott, 1939). All Like coming out of ether. loaves of bread girls Kareen the lack of rhythm in Joe circulation become signifi- film does not formally ad- quotations in the text are from this But you’d think the tele- machine guns books chew- Bonham’s life (“he was cant. Inspired by the story dress the problematics of edition. phone would stop ringing ing gum pieces of wood stone deaf”—that is, he of the Canadian soldier, how to reflect the “point of 2. Ibid., 16. sometime. It couldn’t just go Kareen but thinking of real could not even hear the Trumbo wrote the book view” of someone who is on forever.”2 The narrative things didn’t help because pulse of his own heartbeat) in 1938 and published it reduced to haptic percep- 3. Ibid., 80. unfolds in order to docu- it wasn’t a dream. It was the and therefore marks his the following year, two tion. It is filmed in a rather 4. Only one comma appears in the ment this very fact: that the truth.”3 necessary dependence days after the beginning traditional way, presenting book: “Thanks Rudy, I’ll let you telephone, which is part of The formal peculiarity on the outside world. The of World War II.7 While Joe’s interior monologue know when everything’s finished.” Ibid., 11–12. a dream, will actually go of the narration becomes commas are a metaphor pursuing fiction writing, through voice-over and the on ringing forever, and that plainly visible in these for rhythm—a metaphor Trumbo was also success- exchanges of the medi- 5. Ibid., 233. nobody can stop it pre- enumerations of memo- for the fact that Joe’s fully working as a screen- cal staff through common 6. Ibid., 83. cisely because it belongs ries from Joe’s former life: life among the dead is writer for the film industry dialogues, a narrative to Joe’s imagination and the absence of commas reduced to questions of in Los Angeles and was a strategy that is completely 7. Even though the text was openly 4 against American involvement not to reality, the sounds throughout the novel. This rhythm and structure: of member of the left-wing absent from the novel. in any type of warfare, it won the of which he will never stylistic device has often chasing time as it goes Screen Writers Guild, the These formal concessions American Booksellers Award in hear again. The process of been interpreted as reflect- by, of daily routines precursor to the Writers to the film’s narration fail 1940, a year before the United States finally entered World War II. becoming aware that there ing a stream of conscious- encoded in the vibrations Guild of America. In 1947, to match the novel’s ability is no way to escape the ness. Borrowing a term of footsteps coming and Trumbo—also a member to unsettle the reader and enclosure of his mutilated coined in psychology by going. The lack of com- of the Communist party to maintain him or her body proceeds from this William James, this literary mas also announces the at the time—was subpoe- in a state of suspension first discovery of his deaf- tool presents a radically dénouement of the story: naed to appear in front of analogous to Joe’s state of ness to the realization of subjective view through a Joe’s realization that the the House Committee on uncertainty, between real- the fact that “they” cut off typically modern formalist rhythmic artifice of Morse Un-American Activities, ity and dream. both his arms and legs, abstraction, which coun- code functions as the only to which he refused to Julian Schnabel’s film that instead of a mouth, ters a nineteenth-century way out of the “darkness give testimony. As one of The Diving Bell and the jaws, eyes, and nose, all realism or naturalism. of his own skull.”5 Finally, the so-called Hollywood Butterfly (2007) attempts he has left is a large hole, But instead of pointing and perhaps most notably, Ten, he was convicted of to describe a physiologi- and that he thus cannot at this radical opposition Trumbo’s decision to write contempt, for which he cal phenomenon similar speak, smell, or see. . . Of between abstraction and without commas subtly served a one-year prison to that experienced by his five senses, he has only representation, modern- underscores the life Joe sentence. Joe Bonham. Based on one left: touch. “No legs. ism and realism, the total is reduced to, that of the In 1971 Trumbo adapted the memoirs of Jean- No more running walking lack of commas can also “living flesh”—the Greek the novel and later direct- Dominique Bauby, an crawling if you have no legs. be read as something komma refers to something ed a film of the same title. editor at French ELLE, the No more working. No legs other than a modernist that is cut off, like Joe’s Thanks to the interven- film tells the story of a man you see. Never again to metaphor for the absence limbs, by both the shell tion of Luis Buñuel, Jean who suffers a severe stroke wiggle your toes. What a hell of “sense” from the world. and the medical corps, so Renoir, and Otto Prem- at the age of 42, leaving of a thing what a wonder- Commas create the rhythm that he now has “no legs inger, the film was includ- him with “locked-in syn- ful beautiful thing to wiggle of the written word—and and no arms and no eyes ed in the official program drome”—entirely para- your toes. No no. If he could their absence in Trumbo’s and no ears and no nose and at the Cannes Film Festival lyzed but with a perfectly only think of real things he text raises a series of ques- no mouth and no tongue.”6 in the same year, where it functioning brain. But

viii ix even though Bauby’s ing the Anti-Vietnam War Huns”11); at the same time cating that is at the centre ture of man; it is, rather, 8. Max Horkheimer and Theodor W. only possible means for movement is a genealogy he addresses the question of the narration and its a historical production Adorno, Dialectic of Enlightenment (London: Continuum, 1969). communication was the of the form of bare, or of the cultural relativism interior monologue form, which, as such, can be movements of one eyelid, radically exposed life, for of these “Western” values: serve as an allegory for the properly assigned neither 9. Trumbo, Johnny Got His Gun, 36. he, unlike Joe Bonham, which Joe’s reduced life is “Is the American honor for speechless and invisible to man nor to animal. If 10. Ibid., 144­–46. could still perceive the a paradigmatic example. the world we’re fighting part of humanity. In the this element is taken away, world around him. The Joe addresses this geneal- for? Maybe the South Sea novel, speechlessness the difference between 11. Ibid., 147. first part of Schnabel’s film ogy by asking himself why Islanders like their honor is presented as a physi- man and animal vanishes, 12. This is a question that is still ef- is shot entirely from the he decided to go to war: better.”12 ological condition, i.e., as unless we imagine a non- fective in current warfare whose aim restricted perspective of “Oh why the hell did you What Trumbo’s novel a natural condition of the speaking man—Homo ala- is supposed to be the exportation of human rights to those countries that Bauby’s left eye, creating a ever get into this mess any- paradigmatically and infamous. The concern for lus, precisely—who would are allegedly in need of them. For a surrealist image of reality. how? Because it wasn’t your provocatively shows is, maintaining this natural function as a bridge that discussion of humanitarian warfare, In Trumbo’s film this sur- fight Joe. You never really thus, the link between the semblance is that of the passes from the animal to see Jacques Rancière, “Who is the Subject of Human Rights?” 15 real element is restricted knew what the fight was all form of life Joe Bonham is ruling class; to prove it as the human.” South Atlantic Quarterly 103, no. 2/3 to Joe’s dream sequences about.”9 The causal chain reduced to after his “en- arbitrary and unfounded— This thesis, originally (spring/summer 2004), 297–310. based on the novel. Even that led to war, then to the counter with the shell”— or even more explicitly, to put forward by the linguist 13. Trumbo, Johnny Got His Gun, 227. though both Trumbo and hospital bed, and finally to presented in a sort of prove it as artificial and Heymann Steinthal in 1877, Schnabel’s films treat the Joe being reduced to “liv- meta-interior monologue fostered by the ruling class implies a fundamental 14. Ibid., 229. radical incapacities of the ing flesh” is based on his as inevitable: Somewhere and “their war”—is what contradiction, as Steinthal 15. Giorgio Agamben, The Open: characters from formally admitted naiveté regarding it is being prepared. . . . It the dominated have to himself states: Man and Animal (Stanford: Stanford different perspectives, the nature and character glistens in the factory light fight for. “The prelinguistic stage University Press 2003), 36–37. Luigi Romeo gives the following both films reflect on the of the war. Only when it is and it has a number and It is a question of lan- of intuition can only be definition of the termhomo alalus: production of what Giorgio too late does he realize his the number is mine. I have guage that defines the one, not double, and it “In Greek it literally means ‘without Agamben calls “bare life,” ignorance regarding what a date with the shell. We dividing line between the cannot be different for speech’ (in Latin infans), and as such it was used by E. Haeckel to 13 one through war and the he was really expected shall meet soon. —and the human and the animal, i.e., animal and for man. If it label any primate existing between other through “cultural to fight for, his ignorance life of “every doughboy the line that sets apart the were different, that is, if ape and Man. The term alalus was actually used in connection with forms” that are part of the regarding the meaning and tommy and poilu and ruled from the ruling. In his man were naturally higher Pithecanthropus ‘ape-man,’ which society of the spectacle— of these “special kinds what the hell did they call book The Open: Man and than the animal, then the was coined by Haeckel in the last the fashion world, a com- of words”—like liberty or the Italians?”14 This enu- Animal, Agamben differen- origin of man would not part of the 19th century to indicate the ‘missing link’ between apes mercial mass culture that, freedom—that “the little meration of what Michel tiates the “anthropological coincide with the origin of and Man under the influence of as Theodor W. Adorno and guys were always getting Foucault has called “the machine of the moderns” language, but rather with Darwin’s theory on evolution.” Luigi Max Horkheimer stated killed for.”10 Trumbo’s fierce infamous” lies at the heart from the “machine of ear- the origin of his higher Romeo, Ecce homo! A Lexicon of Man (Amsterdam: John Benjamins, in the Dialectic of Enlight- critique is directed towards of Trumbo’s critique, which lier times”; these machines form of intuition out of the 1979), 6–7. enment (1947), obeys the the abstraction of such addresses at once the in- negotiate the status of lan- lower form which is the same capitalist logic of values, but also the ab- tuitive relation between the guage as the dividing line animal’s. Without real- alienation as totalitarian straction of decency, hon- class origin of the soldiers between man and animal izing it, I presupposed this warfare.8 our, democracy, indepen- and their life expectancy, in different ways: origin: in reality, man with What Trumbo proposes dence, manhood (when and their ability to speak “What distinguishes man his human characteristics with Johnny Got His Gun the soldiers ought to de- for themselves and to be from animal is language, was given to me through and what explains the fend the “beautiful French heard. Joe’s total isolation but this is not a natural creation, and I then sought extreme popularity of both and Belgian girls” from from the world, and the given already inherent in to discover the origin of the novel and the film dur- being raped by the “dirty impossibility of communi- the psychophysical struc- language in man. But in

x xi this way, I contradicted my alalus, or the ape-man.”19 ironically symbolized by Christ he’s already dead book, the latter remains 16. Heymann Steinthal, Abriss der presupposition: that is, that Both machines func- the Christian topos: in the and the big Swede over in a zone of indistinction, Sprachwissenschaft: Einleitung in die Psychologie und Sprachwissenschaft the origin of language and tion by establishing a narration his eventual re- there is going to catch the in a doubt about the in- (Berlin: Dümmler, 1881, 355–56; the origin of man were one zone of indifference, a communication with the flu and die in camp and you tentionality of this process originally published 1871), quoted and translated by Agamben, The and the same; I set man zone of exception at their outer world takes place in the corner you’re going to of shutting down any Open: Man and Animal, ibid., 36. up first and then had him centres where the articula- through his nurse’s Christ- get blown so damned high possibility of communicat- produce language.”16 tion between human and mas wishes, written on nobody’ll ever have a souve- ing with the outside world, 17. Ibid., 37.

Agamben’s anthropo- animal, man and animal, Joe’s chest. In a whirling nir and me I’m going to get any perception and any 18. Ibid. logical machine therefore or speaking being and of thoughts, Joe conflates buried in a trench cave-in possibility of putting “a tiny does not relate to two dif- merely living being must this experience with a and smother now isn’t that a little idea that is in my mind” 19. Ibid. The quote continues: “And it is enough to move our field 24 ferent and fundamentally take place. What occurs in Christmas carol his mother hell of a way to die? into the mind of those of research ahead a few decades, divided categories of the this zone is the continually used to sing and memories Within these frequent, who stand “maybe three and instead of this innocuous pale- living (human and animal) renewed decision about of the biblical Christmas descriptive enumerations, feet away.”26 The film sets ontological find we will have the Jew, that is, the non-man produced but to two states or forms these differences. The life story—recounted in his the conspicuous absence up an aprioristic structure within the man, or the néomort and of life that are mutually that inhabits this zone of own words and ending of commas suggests a that prepares the viewer the overcomatose person, that is, the animal separated within the produced by exclusion or indistinction is neither hu- with Mary’s eyes “filled with conflation of the terms be- for the misapprehension human body itself.” inclusion: “the machine man nor animal but “bare pain and fear for the little ing listed. In the passage of Joe’s situation with his actually produces a kind life,” a life that is always baby.”22 It is thus Christ above, Trumbo collapses first medical report, which 20. Trumbo, Johnny Got His Gun, 300. of state of exception, a exposed to the sovereign who leads Joe back into hierarchies between the explains that any repeti- 21. Ibid., 301. zone of indeterminacy in decision of being pushed the world, who resurrects American “doughboys” tive movement from him which the outside is noth- on the side of the human, him through communica- and Christ. Similarly, the should be seen as reflexive 22. Ibid., 267. ing but the exclusion of speaking being, or, con- tion with the outer world— film continually returns to only, since the patient was 23. Ibid. an inside and the inside is versely, pushed on the side only to be expelled from it scenes that represent the “completely decerebrated.” in turn only the inclusion of speechless animal life. irrevocably by the military poor and disenfranchised But even though this diag- 24. Ibid., 247. 17 of an outside.” While the This is a life in-between, doctors because they fear as the protagonists of the nosis is proven wrong, the 25. This vision is echoed by Erich machine of “earlier times” Joe’s life “beyond life” and his testimony against war. narrative.25 medical approach towards Auerbach, who writes that within biblical realism the “sublime, tragic, produces a “non-man” “beyond death” and “even But Christ appears in his If the re-humanization Joe does not change, or and problematic take shape pre- through the humanization beyond hope.”20 “infamous” form—the son of the living flesh is ex- at least not for the better, cisely in the domestic and the of an animal—“the man- Johnny Got His Gun of a carpenter, a man of perienced as an almost but for the worse. What commonplace” and not among the members of the ruling class. Erich ape, the enfant sauvage shows the two machines the people. Through a religious (however—or pre- follows is a shift from the Auerbach, Mimesis: The Representa- or Homo ferus, but also at work: the humanization hallucinatory dream, Joe cisely because of that—im- unintentional misunder- tion of Reality in Western Literature and above all the slave, of the living flesh through describes Christ playing possible) resurrection, the standing of Joe’s condition (Princeton: Princeton University Press 2003), 22. This is also a main topic the barbarian, and the communication—and a blackjack with the soldiers modern anthropological to an intentional misread- of Pier Paolo Pasolini’s films; see foreigner, as figures of an language of rhythm rather doomed to die on the machine that animalizes ing of the message that it Georges Didi-Huberman, La surviv- animal in human form”18— than words—and the battlefields: The“ boy was the human form is present- is delivering. The medical ance des Lucioles (Paris: Minuit, 2010). the modern anthropo- animalization of a human Christ and he had come up ed in two different ways: staff seem unaware, or un- 26. Trumbo, Johnny Got His Gun, 273. logical machine produces being through the denial from Tucson and now his as operating both unin- willing to believe, that war the outside through the of communication—a life mother was hunting and tentionally and intention- has reduced Joe Bonham’s exclusion of an inside, “by pushed back into “darkness crying for him.”23 Christ ally. While Trumbo’s film body to a monstrous form. animalizing the human, by desertion loneliness silence and the soldiers share addresses this animaliza- Joe’s dreams of being isolating the nonhuman horror unending horror.”21 the same destiny. They tion and its dangers much transformed back into a within the human: Homo Joe’s re-humanization is become indifferent: more explicitly than the “normal” person through

xii xiii communication are thus is not so much that of the 27. In a dreamlike sequence, Joe dashed as the military reaction of power struc- envisions himself as an attraction at carnival fairs, similar to one of doctors realize his efforts tures to figures of bared the characters in Ted Browning’s and understand the poten- life, but their actual consti- film Freaks (1932). In this film, the rallying call “We accept her! One tial damage the testimony tution and genealogy: the of us!” uttered by the “freaks,” who of this living dead man process of becoming bare, also include a “Human Torso,” at would bring to the image infamous, or freakish—a the wedding reception of Hans the dwarf and the beautiful trapeze 27 of war. process that is not, as one artist Cleopatra, already announces Joe’s monstrous body is might be led to believe, a her ultimate “animalization,” as she the medium that carries natural or physiological will be transformed into a “human duck” and will thus be violently the message of the terrors condition. Rather, it is an inducted into the freak community. of war, and therefore it has artificial, man-made situ- The performance of power thus to be denied visibility. Cut ation, produced through belongs to the freaks, and not, as in Trumbo’s novel, to the “normal off from all contact by the the attribution of positions people.” These dream scenes from army medical staff, Joe is in the darkness and in the the film are directly referenced by Metallica in their music video One reduced to his bare life, light. To paraphrase Bertolt (1987). between the living, with Brecht’s29 Threepenny Op- whom he cannot engage, era: “There are some who 28. See Michel Foucault, The History of Sexuality I: The Will to Knowledge and the dead, whose are in darkness; And the (London: Penguin, 1998), 138. radical passivity he cannot others are in light; And you achieve. It is, perhaps, in see the ones in brightness; 29. Brecht was ordered together with Trumbo to appear before the his physical inability to Those in darkness drop House Committee on Un-American commit suicide that his from sight.” Activities in 1947. existence in a state of Joe Bonham’s incapac- Maria Muhle lives in Berlin and exception appears most ity to perceive the world, teaches at the Institute for Me- clearly. Since, as Foucault to communicate with diaculture at Bauhaus-University in Weimar. Her research interests has written, suicide is others and interact with are political aesthetics, political one way of withdrawing his surroundings is, in this philosophy, history of life sciences, from the modern forms of way, reversed. It mirrors and media theory. biopower that completely an incapacity of others to invest life.28 To withdraw perceive the terrors of war, from life is to withdraw to hear the message that from the omnipres- is tapped and hammered ent power over life. The onto the sheets of a hospi- precarious, infamous, and tal bed, and, ultimately, the bare life is precisely the incapacity to understand form of life that is inca- that states of exception pable of withdrawing from are never physiological the strategies of power on or accidental, but always whose care it relies and the result of an exercise of depends. The question power. that Dalton Trumbo raises

xiv 1–316 This pamphlet is part This publication has been Antonia Hirsch of the publication proj- made possible through Komma (after Dalton ect Komma (after Dalton the support of the Canada Trumbo’s Johnny Got Trumbo’s Johnny Got His Council for the Arts. His Gun) Gun) by Antonia Hirsch. Fillip would also like to i–iii Published by Fillip Editions acknowledge the ongoing Kristina Lee Podesva ISBN 978-0-9738133-9-5 support of the Andy War- The Most Inconspicuous hol Foundation, the British Marks Coordinator: Jeff Khonsary Columbia Arts Council, Commas: Kate Steinmann and the City of Vancouver. vii–xiv Essay Editors: Kristina Lee Maria Muhle Podesva, Kate Steinmann Additional thanks to Christ Has Come Up Design: The Future Paloma Campbell, Jason From Tucson Edition: 500 Fulford, Joyce Guley, Sulki Printed in South Korea Choi, Christoph Keller, Olaf Nicolai, Kyong-tae Kim, © 2010 by Antonia Hirsch and Abi Huynh. and Fillip, Vancouver. All rights reserved. No part of Fillip Editions this book may be repro- 305 Cambie Street duced in any manner with- Vancouver, BC out permission in writing Canada V6B 2N4 by the publishers. www.fillip.ca