Erasing Trump: A Pandemic Protest Essay
August 26, 2020 § 6 Comments
Shortly after the seriousness of our pandemic became known, essayist Justin Hocking gave himself a challenge: perform 100 erasures on Donald Trump’s The Art of the Deal in 100 Days. Hocking is about 90 or so days into his project, and has released an initial chapbook in PDF and printed zine form: WHITE OUT: ERASING TRUMP.
As our stay-at-home protocols continue, Hocking is considering extending the “100 day” time challenge, because, as he says, “I’d like to keep executing the erasures right up until the November election.” We caught up with him to ask about erasure prose, politics, and pandemic projects.
Dinty W Moore: I’m intrigued by your Trump erasures for a number of reasons, but one of them is how your work stretches the creative nonfiction genre. Erasure poetry has become common enough, thanks to writers such as Matthea Harvey and Mary Ruefle, but that form most often creates a new poem out of someone else’s words. I’ve seen prose erasure too, but in many cases it results in a sort of poetry as well. What strikes me about your Trump project, however, is that you’re still creating a work of nonfiction: you are using Trump’s words (or maybe the words of his ghost writer) to create an alternate biography of Trump, but still, I think, with the goal of reporting truth. Does it feel that way to you?
Justin Hocking: I think what keeps me engaged with the project – and what keeps me coming back daily to a source text that I find distasteful on so many levels – is the element of the unexpected. Every morning I flip through my copy of Art of the Deal, I really have zero idea what will happen. Sometimes what emerges has a kind of cadence and rhythm that feels like poetry to me, and these tend to be my personal favorites. The Dada-ist absurdity and ridiculous quality of the work keeps me entertained, too. What I could have never expected, though – and what I think you’re getting at – is the way a text published in 1987 can yield a kind of reportage that responds directly to actual events unfolding in 2020.
I’m thinking particularly of pieces like the one created days after the murder of George Floyd, when Trump hid from protesters in the presidential bunker: “I’m/in the/basement/of distressed property.” In another more recent piece, the speaker describes using “very large security people” to keep the streets “free of rights,” and states “I/require/t/ear gas.” This one hit home here in Portland, where we’re concerned about the long-term effects to human health and the environment from relentless CS gas attacks on peaceful protesters. So yes, I haven’t previously considered WHITE OUT in the specific context of creative nonfiction, but the process and results do often have a kind of essayistic quality.
DWM: I notice you allow yourself small drawings – the White House for instance, on the bunker page – as well as erasures. Was that planned all along, or did the idea of drawings present itself by surprise?
JH: I launched the project just using Wite-Out, without ornamentation or color. Then I spotted the opportunity to create a visually striking image of Trump in his bunker by drawing the White House above an all-black box encasing the line “basement/of distressed property.” Drawing the White House felt risky, because my representational art skills are so basic. And I currently only have one copy of Art of the Deal, so there’s not much room for error. But the positive response on social media emboldened me to continue adding visual elements. And to add more color with paint pens: metallic gold, silver, pink, red and orange. The more recent pieces have a kind of abstract minimalist quality that I’m really enjoying. It’s a bit of a silly project, on the face of it, but the daily process feels like a satisfying culmination of my desire to keep busting down boundaries between poetry, prose, visual art, activism, and DIY publishing.
DWM: You are not just busting down boundaries, you are accomplishing something – a quantifiable page count, an identifiable project with a start date and an end date – during a time that many writers find themselves stuck, without words, so distracted by pandemic worries and political turmoil to find any focus. Was that your intent all along, or a lucky accident?
JH: I appreciate the encouragement, Dinty, especially from a writer whose work and aesthetics I admire so deeply. To be perfectly honest, I currently have close to zero bandwidth for my “regular” fiction and creative nonfiction (including another book-length memoir project), for various reasons. Feeling exhausted by our new Covid reality is one reason, certainly. Wanting to make more space to celebrate and amplify the voices of writers of color is another. The Trump erasure project does feel like a lucky gift in this particularly charged political moment, in that it allows me to truncate an authoritarian white supremacist’s bluster on a daily basis, rather than attempting to recount my own relatively privileged life experiences over the course of two or three hundred pages. Though it would be disingenuous to claim the project exists entirely beyond the scope of my own ego or my privileged position in the literary world, of course.
On a more personal note, I want to commiserate with anyone out there experiencing a creative drought during these times. I’ve survived a couple periods of pretty severe illness in my life, when erasures were the only form of “writing” I could manage. I highly recommend the erasure process as a form of creative medicine and/or political activism for anyone who craves it. I also hope to witness more folks making erasures on The Art of the Deal or other similar texts – beyond my own work, I’d love to see this continuing to transform into a minor movement. A cheap paperback copy, a pencil and some Liquid Paper are all it takes to begin.
DWM: What else can you share about your odd and fascinating project?
JH: Just a quick shout out to a few writers and works that inspired the WHITE OUT project: The Place of Scraps by Canadian First Nations writer Jordan Abel; Expecting Something Else by A.M. O’Malley; comedian Sarah Cooper’s Trump lip synchs; and all the students who’ve made their own Art of the Deal erasures in our writing courses at Evergreen State College and Portland State University. Also keep your eyes peeled for Erase The Patriarchy: An Anthology of Erasure Poetry, edited by Isobel O’Hare, that drops in August 2020 from University of Hell Press.
Learn more about Hocking’s WHITE OUT: ERASING TRUMP and purchase a PDF at his website: http://www.justinhocking.net/ The PDF e-zines are pay-what-you-will, with all proceeds benefiting Portland’s Black Resilience Fund.
Justin Hocking is the former Executive Director of the Independent Publishing Resource Center. He is the author of the Oregon Book Award-winning memoir The Great Floodgates of the Wonderworld, and a chapbook of hybrid poetry/prose entitled PS: The Wolves. He teaches creative nonfiction and publishing at Portland State University.