A Forum for Vigorous Debate, Cornerstone of Democracy

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A FORUM FOR FREEDOM OF SPEECH AND VIGOROUS DEBATE, CORNERSTONES OF DEMOCRACY
[For the journal--guidelines, focus, etc.--go to www.theamericandissident.org. If you have questions, please contact me at todslone@hotmail.com. Comments are NOT moderated (i.e., CENSORED)!]
Encouraged censorship and self-censorship seem to have become popular in America today. Those who censor others, not just self, tend to favor the term "moderate," as opposed to "censor" and "moderation" to "censorship." But that doesn't change what they do. They still act as Little Caesars or Big Brother protectors of the thin-skinned. Democracy, however, demands a tough populace, not so easily offended. On this blog, and to buck the trend of censorship, banning, and ostracizing, comments are NEVER "moderated." Rarely (almost NEVER) do the targets of these blog entries respond in an effort to defend themselves with cogent counter-argumentation. This blog is testimony to how little academics, poets, critics, newspaper editors, cartoonists, political hacks, cultural council apparatchiks, librarians et al appreciate VIGOROUS DEBATE, cornerstone of democracy. Clearly, far too many of them could likely prosper just fine in places like communist China and Cuba or Saudi Arabia, Qatar, and Russia, not to mention Sweden, England, and Austria.
ISSUE #47 PUBLISHED MAY 2024. NOW SEEKING SUBMISSIONS FOR ISSUE #48.

More P. Maudit cartoons (and essays) at Global Free Press: http://www.globalfreepress.org
Showing posts sorted by relevance for query Lesley University. Sort by date Show all posts
Showing posts sorted by relevance for query Lesley University. Sort by date Show all posts

Wednesday, October 5, 2022

Kevin Carey, Anne Pluto, Lloyd Schwartz, Daniel Tobin

The following is the front cover for the next issue of The American Dissident due to be published later this month (October, 2022).  Below it, appears the email sent to the 4 prof/poets depicted on the front cover and invited by Sturgis Library to read.  I, a poet/editor, was NOT permitted to attend the reading.  Not one of the prof/poets deigned to respond.  In essence, not one of them gives a damn about vigorous debate and freedom of expression, the two prime cornerstones of a thriving democracy.  They do incarnate the sad state of America today...

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To Prof Poets Kevin Carey (Salem State University), Anne Pluto (Lesley University), Lloyd Schwartz (University of Massachusetts), and Daniel Tobin (Emerson College):  

Are you perchance aware that I, as a dissident poet and editor, was not permitted to attend your reading at Sturgis Library, my very neighborhood library?  If not, now you are fully aware!  From my decades-long experience with poets and academics, however, I doubt very much that any of you will stand up for freedom of speech and actually write a letter decrying library director Lucy Loomis’ autocratic decision to permanently ban me in 2012 for the crime of having disseminated written criticism of her egregious hypocrisy, regarding the library’s (and the American Library Association’s) collection development statement, in particular, “libraries should provide materials and information presenting all points of view."  Read the letter from the State Secretary of Records of Massachusetts demanding Loomis open her records to public scrutiny, so that I might at least examine what she wrote about me... nine months after the banning.  

Evidently, my point of view and the points of view of all the poets I’ve published since the 2012 banning are NOT permitted at Sturgis Library, one of the oldest in the country.  Loomis refused a free subscription offer!  Likely, I am very, very different from each of you because, as a poet, essayist, cartoonist, and editor, I tend to speak truth openly, especially regarding the multitude of well-fed academic/literary (and librarian!) establishment cogs serving to undermine freedom of speech and vigorous debate, democracy’s very cornerstones.  From the inevitable resultant dross (e.g., pathetic apathy and/or ad hominem), I create!  Would the Cultural Center of Cape Cod open its doors to my critical aquarelles?  Of course not!  PROHIBITED! 

Currently, I am contemplating an idea using the four of you for the front cover of the next issue, #44, of The American Dissident.  As a highly unusual literary editor, I not only brook harsh criticism (unlike Loomis and most others in power positions), but encourage it especially regarding the journal and me... and publish the harshest received in each and every issue.  Is there another literary journal that does that… in the name of democracy, as opposed to groupthink wokidiocy?  Well, I have yet to find one!  

So, I encourage you to respond.  And yes, I too was once a professor, but, for me, speaking truth openly always took precedence over climbing the see-no-evil, speak-no-evil ladder to tenure.  Attached is my Curriculum Mortae for your perusal.  Now, would Salem State University, Lesley University, Emerson College, and University of Massachusetts ever consider hiring someone like me?  Certainly not!  As a side note, how not to LOL regarding Schwartz’ "Pulitzer Prize for Criticism."  Yes, anything but criticism of the dubious Pulitzer and all the other hands feeding him!  Be curious!  Check out the links in this email!   

Why are the bulk of poets and poet organizations so incapable of dealing with criticism?  Why is Loomis so incapable?  Why does she feel compelled to ban criticism of her?  Never have I made any threats!  I have no criminal record!   It has reached the point where criticism (with the exception of samizdat) simply does not exist with her and their (the poets’) regard.  

As another side note, shame on Edie Vonnegut for using his family name to become a library trustee censor.  For him, I attach the cartoon I sketched in 2014, depicting what his relative Kurt had said about Sturgis Library, where once he too served as a trustee.  

One day, in the brave new world of the Loomis’s, someone like me will be cuffed, arrested, and incarcerated for simply disseminating an email like this one… and thanks to those like you... and, of course, in the name of democracy.

Au plaisir,

G. Tod Slone, Ed.

The American Dissident


Sunday, June 6, 2010

Robert Pinsky


For Justice, Equity, and Freedom of Expression in Massachusetts


[Essay sent to Massachusetts Cultural Council, Concord Cultural Council, Massachusetts Poetry Festival, Massachusetts Attorney General, Boston Herald, Boston Globe, Concord Poetry Center, University of Massachusetts, Lesley University, Salem State College, and Others (see below for email addresses)]

As a citizen of our purported “democracy,” I write to inform of various grievances, mostly occurring in the State of Massachusetts over the past 15 years. This initiative was sparked by one of those grievances with regards the taxpayer-funded Massachusetts Poetry Festival, sponsored by the University of Massachusetts at Lowell, which simply refuses to respond to my queries sent last November, this May, and again on the first of June as to how The American Dissident, a 501 c3 nonprofit journal of literature, democracy, and dissidence, might become a “Poetry Partner” and be listed on its webpage next to, amongst others, Cave Canem, Bagel Bards, Wild Apples, Concord Poetry Center, and Citizen’s Bank, which by the way is my bank. Its Director of the Massachusetts Poetry Outreach Project, Chloe Garcia-Roberts, will not respond. My list of grievances include the following and mostly pertain to the State of Massachusetts:

1. The ACLU of Massachusetts refused to help me and the state press refused to report on my tenure battle at Fitchburg State College in 1996, where corruption included highly whimsical faculty evaluations, nepotism, and my eviction mid-semester from my office w/o due process. Unlike Florida and other states, no Freedom of Information legislation exists in Massachusetts. The transcripts of my arbitration hearing are thus kept secret. Why do journalists and others accept this sad status quo of lack of transparency? For actual documents, including a rather humorous page I managed to grab from the arbitration transcript, consult www.theamericandissident.org/FitchburgStateCollege.htm.

2. The state police arrested and incarcerated me in a Concord jail cell in 1999 for protesting the absence of free speech at Walden Pond State Reservation. The refusal of the local and state media to report on the incident was deplorable. Moreover, the state park continues to refuse to permit me to stock flyers critical of it and other state matters at its kiosks, despite the following:

“Since the Supreme Court’s decision in Hague v. Committee for Industrial Organization (1939), it has been settled in the law that public parks—since they are held in trust for the public and have traditionally been used for assembly, communication, and public discussion—are ‘traditional’ public forums. […] Once a place has been designated a public forum, the government’s power to limit speech there is extremely narrow. Viewpoint discrimination is never permissible. Content discrimination (discrimination based on the subject matter of the speech, whatever the point of view taken on it) is acceptable only if the government can show the following:

1) There is a compelling state interest for the exclusion.
2) The regulation making the exclusion is narrowly drawn to achieve that state interest
3) The regulation leaves open ample alternative channels for the communication.
Speech has been broadly defined as an expression that includes, but is not limited to, what you wear, read, say, paint, perform, believe, protest, or even silently resist. ‘Speech activities’ include leafleting, picketing, symbolic acts, wearing armbands, demonstrations, speeches, forums, concerts, motion pictures, stage performances, remaining silent, and so on." (Foundation for Individual Rights in Education)

For details and documents regarding my arrest and incarceration, consult http://www.theamericandissident.org/WaldenPondStateReservation.htm.

3. The publicly-funded Concord Poetry Center ostracized me as a local dissident poet. Director Joan Houlihan sums up its twisted mentality: “The idea of your teaching a workshop or delivering a lecture on the art of literary protest or poetry protest, or simply protest (Concord is where it all started!) occurred to me even before you mentioned it, so, yes, it’s something I will consider as we progress (this is only our first event). However, I must say I don’t favor having you teach at the center if you protest the reading.” Evidently, I chose to protest and was thus never offered a workshop to teach. For details on my protests at the CPC, consult http://www.theamericandissident.org/ConcordPoetryCenter.htm.

4. The publicly-funded Academy of American Poets censored (i.e., removed) my comments and banned me from participating in its online forums in 2006. The AAP is connected with the publicly-funded Massachusetts Poetry Festival and sponsors National Poetry Month, which is propagated in the nation’s public schools and colleges. For details, censored comments, and AAP chancellor remarks, see http://www.theamericandissident.org/AcademyAmericanPoets.htm.

5. The Massachusetts Cultural Council refuses to accord public-grant monies to The American Dissident because the journal has an annual budget inferior to the Council’s arbitrarily imposed $10,000 annual budget minimum for grant applicants. It thus funds journals like Agni, which is connected to Boston University, which has an endowment of over one-billion dollars. For my attempts to breach the proverbial brick wall, consult my correspondence with Council apparatchiks, including Council coordinator Charles Coe, who is also a founding director of the Massachusetts Poetry Festival, at http://www.theamericandissident.org/CharlesCoe.htm.

6. The Concord Cultural Council adopted a regulation in 2009 prohibiting funding to any project it arbitrarily deemed to be of a “political nature. This regulation was clearly adopted to prevent The American Dissident from receiving public funding. Indeed and in futility, I’ve been applying as a publisher and poet in Concord for such funding over the past decade. The Concord Cultural Council, Massachusetts Cultural Council, and state Attorney General Martha Coakley refused to address my grievance with this regard. For details, see http://www.theamericandissident.org/CCC.htm.

7. Director Karen Wulf of PEN New England (“defending freedom of expression”) refuses to respond to any of my grievances regarding impediments to my freedom of expression in New England. It is likely that Joan Houlihan (see above) and PEN director Karen Wulf, both comfortably installed at Lesley University, are friends. It is likely that Charles Coe is also a friend.

8. Professor Fred Marchant, director of Suffolk University’s Poetry Center, refuses to respond to my requests that it consider, for the sake of students, including The American Dissident. Marchant is a friend of Houlihan. For a cartoon depicting the rampant cliquishness of the poetry milieu in Massachusetts, see http://www.theamericandissident.org/SuffolkUniversityPoetryCenter.html.

9. The Watertown Free Public Library issued me a no-trespass order without due process for my attempting to interest its reference librarian, Ardis Francoeur, in subscribing to The American Dissident. Again, State Attorney General Coakley and the press refused to respond regarding my grievance.

10. Word censorship is now automatically effected by The Boston Globe on its website. Globe journalists favor that censorship. I was censored by them. For a cartoon I drew regarding that indifference, featuring Jeff Jacoby and Editor David Beard, see http://www.nationalfreepress.org/cartoonists-mainmenu-250/g-tod-slone-mainmenu-406.

11. Some 200 Massachusetts college English professors were contacted regarding my attempts to interest them in radically altering the academic culture of sycophancy, turning a blind eye, careerism, PC, prevarication, and apathy to censorship. Only four responded. Professor Ruth Jennison wrote: "Please remove me from your list." Professor William Nelles briefly argued: “you loser.” Professor J T Skerrett, Jr. was a little more voluble: “Do you really think that insulting and reviling the faculty is the way to persuade us to read your publication?” As for Professor Jack Conway, read his lengthy diatribe (with student support) here: http://wwwtheamericandissidentorg.blogspot.com/2008/11/unspoken-mantra-of-u-mass-english.html. Yes, how dare anyone think, let alone state, that all is not rosy in academe in Massachusetts. University of Massachusetts poet-professor, leftist luminary Martin Espada refuses to respond to any of the criticism I’ve sent his way. After all, silence, not democracy’s cornerstone, vigorous debate, is always the most effective response for those in power positions, no matter how little.

12. As testimony to the ambient ideological requisites for teaching in Massachusetts, cite North Shore Community College, to which I’d applied unsuccessfully for a job as an English instructor: “Appreciation of multiculturalism required.” Well, I brought that to the attention of the Foundation for Individual Rights in Education, which then wrote the college, resulting in the college’s removal of that unconstitutional requisite. Sadly, however, the concept still remains firmly implanted in the brains of the administrators and faculty who enacted it.

As a footnote, the response of Paul Lappin, director of the Parker Lecture Series (University of Massachusetts at Lowell), to my query is quite interesting and revealing in its refreshing honesty. I’d asked whether or not the PLS was closed to dissident voices as lecturers and only open to those who would please the comfy bourgeois mindset. Lappin responded: “comfy bourgeois” [only].

Finally, my staging of various solo protests critical of state-sponsored poets and poetry events at the Concord Poetry Center, Concord Free Public Library, Robert Creeley Prize in Acton, and elsewhere confirm the indifference of poets, teachers and professors to questions of free speech and vigorous debate. My numerous critical letters to the editor of student newspapers at colleges employing me over the years confirm professorial indifference to matters of corruption, free speech, and vigorous debate For examples of these letters, consult http://www.theamericandissident.org/ElmiraCollege.htm and http://www.theamericandissident.org/GramblingStateUniversity.htm. Unfortunately, during my five years at Fitchburg State College in Massachusetts, the student newspaper refused to publish anything I submitted of a critical nature. It is truly appalling to observe how little so many well-educated persons really care about censorship and democracy.

Will any of the individuals and organizations contacted stand up to help me open Massachusetts to equality of opportunity and freedom of expression, including and especially regarding dissident points of view? How did it ever get so bad, where literature operates like politics and anything but truth and courage becomes manifest? Money? Is that how? Democracy is in peril in Massachusetts. It is in peril when persons in publicly-funded positions remain unresponsive to citizen grievances, preferring instead to ostracize such citizens.

It is my experience that NONE of the individuals and organizations contacted will respond and stand up apart from the literary herd where the feed is quite plentiful. We’re talking here not about the myth of the proverbial starving poet, but rather about the fattened academic poet. It is astonishing how very bourgeois literature has become today. Take a look at the Lesley University Creative Writing faculty page, where most of the instructors simply link to their publishers. You’d be hard-pressed to find personal email addresses for the instructors, who proudly equate themselves with their published books… and sadly not much else. In America, it’s all about gaining a recognizable name a la Simic, Pinsky, Gluck, or whomever. And once you’ve reached that stage of intellectual sellout, then you’re all set monetarily and with invitations and prizes galore. It is sickening that our students are not being taught to question and challenge that troubling status quo. Can this sad sell, sell, sell of names be stopped? Probably not. It’s become an integral part of America. Our students are being taught to blindly admire the famous and strive to become one of them. Buck that trend and expect severe ostracizing.

What can you, the individuals and organizations contacted, do as citizens? Well, for starters, you could write the freedom-disdaining organizations mentioned in this missive and tell them that you’ve been made aware that some of they censor, treat with inequity, break the law, scorn vigorous debate, do not tolerate criticism, demand ideological adherence, etc., and that you do not favor those things. In fact, you could also request to have your organization removed from the Massachusetts Poetry Festival “Poetry Partner” list. Pipedream? But of course!
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letterstoeditor@bostonherald.com, mfreidson@metro-boston.com, jacoby@globe.com, beard@globe.com, mfeeney@globe.com, jackson@globe.com, ago@state.ma.us, fjmarchant@aol.com, mina.wright@art.state.ma.us, dan.blask@art.state.ma.us, voltairepress@live.com, paullappin@hotmail.com, chloe@masspoetry.org, Paul_Marion@uml.edu, bootstrapproductions@gmail.com, info@bostonbookfest.org, writers@capecodwriterscenter.org, wendycobb@ccpoets.org, alisonmeyers@ccpoets.org, camillerankine@ccpoets.org, editors@wildapples.org, joan@concordpoetry.org, connect@echoditto.com, favpoem@bu.edu, mollywatt@comcast.net, jenise@alum.mit.edu, info@fordhallforum.org, info@frostfound.org, sonya@grubstreet.org, whitney@grubstreet.org, chris@grubstreet.org, doug_holder@post.harvard.edu, m@mwest.com, Admin@PoetryJam.org, Charles.coe@art.state.ma.us, ibbetsonpress@msn.com, pen-ne@lesley.edu, Bertin@ncac.org, mespada@english.umass.edu, rpinsky@bu.edu, joan@concordpoetry.org, cpc@concordpoetry.org, fwright@brandeis.edu, jvanderv@lesley.edu, scramer@lesley.edu, alison@blueflowerarts.com, info@tsellis.com, delliott@conknet.com, sugoodman@aol.com, Michael.lowenthal.90@alum.dartmouth.org, lychack@gmail.com, lorraine.allison@salemstate.edu, dorothy.anderson@salemstate.edu, mary.balestraci@salemstate.edu, Elizabeth.bates@salemstate.edu,
Paul.beauvais@salemstate.edu, marc.bootsebenfield@salemstate.edu, h.branscomb@salemstate.edu, susanna.brougham@salemstate.edu, patricia.buchanan@salemstate.edu, maura.bullock@salemstate.edu, nicole.buscemi@salemstate.edu, susan.butterworth@salemstate.edu,

Friday, December 11, 2009

Charles Coe

 
As part of an ongoing experiment to test the waters of democracy, especially in the academic and literary arenas, notice of this blog entry was sent to each of the persons depicted in the above watercolor (see below). Will any of them dare comment? Likely not. Their shame is that they do not cherish, but rather scorn, vigorous debate, democracy’s cornerstone. Their shame, at least those in the teaching profession (Pinsky, Marchant, Houlihan, Wright, and Espada), is that they do not seek to expose their students to all points of view and all possibilities for inspiration with regards writing, including and especially dissidence and purposeful conflict with power. Their shame is their contentment that dissidents like me and others are kept out of their festivals, kept from public funding, and kept from the eye of youth. Their shame is that my freedom of expression and that of other American dissidents is being crushed at every corner. Some of them have even become millionaire professor poets. Indeed, how can one possibly expect raw, visceral truth from such persons?

The idea for the above watercolor brewed over several weeks time and was likely sparked by the probable clique connection existing between Joan Houlihan, Director of the Concord Poetry Center, Karen Wulf, Director of Pen New England, Joan Bertin, Director of the National Coalition against Censorship, and Fred Marchant, Director of the Suffolk University Poetry Center. Both Wulf and Houlihan operate from Lesley University (Cambridge, MA). Both Wulf and Bertin refuse to address the freedom of expression and censorship issues I’d brought to their attention. Why?

Again, the only concrete explanation I could come up with was the clique. Houlihan often reads paired with Marchant, who is depicted in a photo hugging Charles Coe of the Massachusetts Cultural Council and Massachusetts Poetry Festival. Coe refuses to address my request to be invited to the Poetry Festival. To that concoction, I added Doug Holder of Ibbetson Press, who interviewed Coe and gave Robert Pinsky, also depicted in the watercolor, a medal or award.

Pinsky seems to be the established-order poet poster boy, invited left and right and everywhere else to read his flaccid poem about a shirt. How mind-boggling can it get? I first contacted him in 1996 or 7, when he was invited to give the commencement speech at Fitchburg State College. I contacted him because of the inherent corruption festering at that institution. He of course was indifferent and did not respond. All he wanted was his 5-10K honorarium. He really does disgust me as a poet.

Doug Holder, on the other hand, has certainly been more open than most poets of the established order. Poesy mag, which he co-edits or co-edited, interviewed me. Doug certainly could have prevented that interview. Also, he did place a link to this blog on his site and even manifested rare established-order poet curiosity by buying an issue of The American Dissident at Grolier's in Harvard Square. So, hats off to Doug... sincerely. Just the same, it is too bad he doesn't push others of the clique like Coe and Houlihan and Marchant to open their doors to dissent. So, come on Doug, give those poet cohorts a little boot in the rump... not for me, but for democracy!

To fill out the picture, I added Martin Espada of the University of Massachusetts for diversity’s sake and for his indifference to dissident poets. Also, I added Franz Wright of Brandeis University, who was invited by Houlihan to read and for his indifference.

Of course, many others could have been added to the picture. Duke University professor Gary Hull, Director of the Program on Values and Ethics in the Marketplace, for example, could have been added. He refused to respond to my emails requesting he place my signature, as editor of The American Dissident, on a petition he created to decry Yale University’s decision to censor cartoons. Has it perhaps gotten that bad that petitions are only open to certain categories of citizens?

In America, perhaps we are indeed now in the Age of Aberrancy, where censorship has become rampant and censors extolled as moderators of pre-approved bourgeois aesthetics. George Orwell would have gone nuts with so much material to write about!

In essence, the rancid odor of cliquishness characterizes the established-order academic/literary scene. Offend the clique and risk ostracizing. It’s quite that simple. What really concerns the clique is not literature per se and certainly not democracy, but rather the marketing of clique members and their books. It is sad that public cultural councils endorse this kind of cliquishness and hermetic resistance to dissent.

As noted in the watercolor, its idea was also inspired by Brueghel’s painting, “The Cripples” (or “The Beggars”) and Léo Ferré’s 1956 preface to "Poète...vos papiers !" (see www.theamericandissident.org/Essays-Ferre.htm) In the quote, Ferré mentions that poets cut off their own wings, leaving just enough “moignon” (stump) so they may flutter about in the Literary Poultry Yard. He also mentions that we may expect little, if any, hope from poets of that sort.
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From: George Slone
To: Charles.coe@art.state.ma.us; ibbetsonpress@msn.com; pen-ne@lesley.edu; Bertin@ncac.org; mespada@english.umass.edu; fjmarchant@aol.com; rpinsky@bu.edu; joan@concordpoetry.org; cpc@concordpoetry.org; fwright@brandeis.edu
Cc: gahull@soc.duke.edu; mina.wright@art.state.ma.us; dan.blask@art.state.ma.us; voltairepress@live.com
Sent: Fri, December 11, 2009 11:57:37 AM
Subject: The Age of Aberrancy, the Poetes moignons & Vigorous Debate, Cornerstone of Democracy

Dear Poets et al:
You are the subject of a new watercolor and blog entry, which is why you're being contacted. Go ahead, curiosity didn't kill the cat. Apparently, it only killed the poet, which certainly must explain his and her incredible incuriosity! http://wwwtheamericandissidentorg.blogspot.com/2009/12/age-of-aberrancy-and-poets-of-moignon.html

Sincerely,
G. Tod Slone, PhD and Founding Editor (since 1998)
The American Dissident, a Journal of Literature, Democracy & Dissidence
A 501 c3 Nonprofit Providing a Forum for Vigorous Debate, Cornerstone of Democracy
todslone@yahoo.com
www.theamericandissident.org
1837 Main St.
Concord, MA 01742

Friday, November 6, 2015

Danielle Legros Georges

What I usually do is first create a cartoon from INANITY and VACUITY often culled from the media, both general and literary, though sometimes culled from personal experience with hacks--political, cultural, and/or literary.  In the above case, the new poet laureate of Boston serves as an example.  State funded and/or otherwise supported poets and poet organizations are really nothing more than an incarnation of State Soviet Literature, which also viscerally rejected criticism.  

Then what I do next is send the cartoon to those targeted directly or indirectly in it.  Now, will such rude truth help my literary career or result in absolute ostracizing?  Your guess.  Thus, I sent the above to the following two entities, as well as to the poet laureate herself.  Will anyone respond in the name of vigorous debate, cornerstone of democracy?  Well, experience dictates that likelihood to be slim...
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To Michael Ansara, Exec. Dir., Laurin Macios, Program Director,
Mass Poetry, and January O’Neil, Massachusetts Poetry Festival Executive Director:  Attached is the new cartoon I drew on Boston’s new PL.  So, who was on the “distinguished search committee”?  Why didn’t you even mention that in your hagiography of Legros Georges?  Why not encourage poets to question and challenge in lieu of simply encouraging them to open wide and swallow the lit pabulum?  Why always the silence?  This is NOT the Soviet Union and you are NOT the head of the Soviet Writer's Union.  Well, perhaps things are really NOT so different in America.  Indeed, when one reads Solzhenitsyn's The Oak and the Calf, how not to think of America!  Do you detest vigorous debate, cornerstone of democracy?  Apparently, you do!!!  Well, at least you are aware that dissidents against your sad establishment machine like me do in fact exist here in Massachusetts…

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To the Student Editors of Lesley Public Post, Lesley University:  Attached is a satirical sketch I’ve drawn on one of your professors.  Will you publish it in the LPP?  Or is the LPP sadly just a wing of the Lad (ministration), which it probably is?  Please do let me know of your decision.  Thanks for your attention.  

[No response from the editors, but Madame the Poetess responded]

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From: Georges, Danielle
Sent: Friday, November 6, 2015 4:46 PM
To: George Slone
Cc: dougholder@post.harvard.edu; michael@masspoetry.org; laurin@masspoetry.org; january@masspoetry.org; nicco@masspoetry.org
Subject: Re: Boston's new PL satirized in a new P. Maudit cartoon

Mr. Slone,
The time and attention you’ve given to your rendering of the Poet Laureate is impressive and somehow flattering.   
A little research (something good journalists, pundits, and even satirists, engage in) on your part would have provided you with the Poet Laureate position criteria and search committee members.  This information is public knowledge. 
Your approach is cowardly, Mr. Slone.  I see that you have my email address, and also could have been in touch had you really wanted answers to your questions, or to understand my Poet Laureate Program in all its facets.  It seems to me that a thoughtful conversation doesn’t interest you; that you’d rather send inflammatory volleys from the safe zone behind the computer screen at which you cower. 
Also pusillanimous is the attempt to make your confrontation personal.  How you have arrived at your presumptions about me, I don’t know, as we have never met.  Can you, Mr. Slone, discern whether I can relate, or have related, to dissident poets (as you call them), “poor blacks in Boston,” or others?  Methinks not. 
Feel free to contact me if you are interested in a real dialogue on poetry, poetics, and politics.
Danielle Legros Georges
Poet Laureate, City of Boston


From: George Slone
Sent: Saturday, November 7, 2015 12:14 PM
To: Georges, Danielle
Subject: Re: Boston's new PL satirized in a new P. Maudit cartoon

To Danielle Legros Georges, Poet Laureate, City of Boston:
Thank you very much for the response!  Sincerely!  That in itself (from my two-decades of experience) is very rare for an establishment academic and poet.  You will note that I am not “picking” on you per se, since ove the years I have created well over 1,000 cartoons on many different poets, academics, cultural-council apparatchiks, librarians, editors, etc.  You can take a look at some of them here 
http://wwwtheamericandissidentorg.blogspot.com. Your cartoon is now posted at the latter.  How sad establishment poetry magazines would NEVER publish such cartoons or criticism!  In fact, a number of them refuse to even list THE AMERICAN DISSIDENT with other literary magazines listed (e.g., New Pages, Poetry Foundation, and P&W magazine).  
Criticizing establishment icons and organizations has become my principle creative activity and in a sense accords me a certain dignity via the exercise of the basic human right of freedom of expression. In fact, where else might one find criticism of Mass Cultural Council, Mass Poetry Festival, NEA, Poetry mag, etc., etc.?  It seems The American Dissident is unique in that sense.  Why do the other magazines normally NOT include such criticism?  The poetry milieu, in that sense, seems somewhat unique.  
Via Google, I did do some research.  How else did I find your email address?  But I could not find the selection committee member names nor the criteria, which you could have provided in your email, but did not.  Mass Poetry will not respond to my request for that.  No matter.  I expect the selectors were surely academics and without doubt part of the academic/literary establishment.  Were they not?  Were there any hardcore critics of the academic/literary establishment on the committee?  I also expect the criteria to be sufficiently vague and include something to the extent of quantity of publications in establishment magazines.  When dealing with art and literature, subjectivity is the prime point in question (like minds usually choose like minds!), though it is often treated as if somehow objective by the establishment. 
So, you choose to respond with ad hominem:  “cowardly.”  Rather than focus on the messenger, why not focus on the message in the cartoon.  Why not underscore precisely where the lies are in the satirical sketch and present a factual counter-argumentation?  If anything, I am NOT cowardly!  Unlike you (most probably), when teaching in academe I have always stood up and openly criticized administrators and colleagues and risked my employment for doing so!  Also, unlike you and other literary ladder climbers, I have always chosen RUDE truth (is there any other kind?) above fame, titles, awards, publications, and invitations.  With that regard, you might wish to contemplate Emerson:  “I am ashamed to think how easily we capitulate to badges and names, to large societies and dead institutions. Every decent and well-spoken individual affects and sways me more than is right. I ought to go upright and vital, and speak the rude truth in all ways.”  Clearly, those words inevitably must directly counter your modus operandi.  
Sure, I could have contacted you prior to contacting your student newspaper editors, who will likely NOT be responding because of an absence of independence of mind and PC-obligation.  But what difference?  
You note:  “It seems to me that a thoughtful conversation doesn’t interest you; that you’d rather send inflammatory volleys from the safe zone behind the computer screen at which you cower.”  Well, why not invite me to your classes to present my point of view, which is likely at antipodes to your point of view?  In fact, despite my requests, only one professor in America has been willing to do that:  Dr. Dan Sklar, Emerson College.  Also, why not help get me invited to the Mass Poetry Festival to present my point of view?  MPF will NOT even respond, nor will the organizers of the Boston National Poetry Month.  I do NOT hide behind my computer screen.  I have OFTEN stood alone outside in protest against establishment poetry readings et al.  In fact, several years ago, I was permanently trespassed from my neighborhood library w/o due process because of my written criticism.  In fact, I was also trespassed from part of Fitchburg State University, where I was on the tenure track.  One professor had claimed she was afraid of me.  For those in power, the claim of fear is a typical ploy to crush dissidents.  In any case, how can YOU make an assertion of cowardice without knowing anything about me?  BTW, Lesley used to house PEN New England, which shamefully refused (and still does) to respond to any of my correspondance!  It does NOT care about my civil rights!  If Joan Houlihan is still present at Lesley, she too is an absurdity who once told me she would not permit me to teach any workshops at her Concord Poetry Center if I protested in front of the center (see 
http://theamericandissident.org/orgs/concord_poetry_center.html).  Well, this coward chose to protest and to hell with teaching the workshops!  Check that linke to see the cartoon I drew on Houlihan.  And how sad it is that college students are generally NOT introduced to criticism like mine!  Lesley would never subscribe to The American Dissident.
So, where do I find the names of the selection committee members and the criteria for the selection?
Also, why do you NOT give a damn that poets like me are fully ostracized by the establishment, which viscerally rejects criticism, satire, etc.?  Why?  
For you, the one question still remains:  how can one possibly reach the status of PL without groveling, ladder climbing, backslapping, self-congratulating, turning a blind eye, and especially avoiding criticizing at all costs?  For me, the answer is quite simple:  one can NOT reach that status without such less than noble activity.  Even way back, poets of the establishment like Alexander Pope and Lord Byron knew quite well that the position of PL was generally a farce!  Think of Stalinist State Poet Gorky, who’d argued that the archipelago gulags were nice places!  And how to read Solzhenitsyn’s The Oak and the Calf without noting the remarkable similarity between literature under the Soviet dictatorship and that in America today?  
As noted in my satire, the PL is clearly a badge of safety… accorded by the establishment!  How you can NOT perceive that is something you’d have to seriously contemplate.   Could someone like me ever be anointed PL by the poet, cultural-apparatchik, and local hack selectors, who I’ve likely already openly criticized?  Of course not!  And that is the fundament, the crux of the PL problem.
In fact, achieving the position of PL is akin to achieving tenure as a professor.  You might not be tenured, but you surely must know deep down what one must not say, what expression one must conceal.  In fact, the position of PL demands a certain blindness to the fact that dissidents like me are indeed fully ostracized and, for example, canNOT get public funding.  Despite my 501c3 status, the NEA, Mass Cultural Council, etc. will not accord The American Dissident one penny of public funds.  In fact, because of my criticism, the Concord Cultural Council even enacted a policy prohibiting funding to any art it deemed to be of a political nature.  But then because I mocked that policy (see http://theamericandissident.org/orgs/massachusetts_cultural_council.html), it quickly withdrew it.  Sure, it’s not on paper today, but it is still firmly implanted in the minds of the establishment apparatchiks on the council.  
Finally, of course, I’d be willing to “dialogue” with you and others.  I have no criminal record of violence and have NEVER threatened anyone.  Why not try using your new power to allot just a tiny little space in the world of poetry to hardcore critical poetry with regards the poetry establishment?  Why not investigate why so many poets have such thin skin and thus cannot bear to be criticized?  Why are not MFA poetry students encouraged to contemplate the poetry infrastructure and encouraged to criticize it?  

[No response]
.............................................................


From: George Slone
Sent: Thursday, November 12, 2015 2:47 PM
To: Georges, Danielle
Subject: Re: Boston's new PL satirized in a new P. Maudit cartoon

To the PL,
So, your definition of a “real dialogue” is to simply and gently close the door?  Or are you just too busy for “real dialogue” now?  Or does “real dialogue” really mean PC-minded dialogue?  I suspect that you only responded to my initial email because it was sent to a few of your colleagues and Lesley University student newspaper editors, all of whom decided NOT to respond.  Surprise?  Not in the least!  And that’s what is so sad about higher education (Lesley University et al) and the literary milieu today:  the absolute rejection of “real dialogue.”  In fact, a poet laureate is normally chosen because of her proven rejection of “real dialogue,” n’est-ce pas?


[No response.   Some dialogue on poetry, eh!]  


Wednesday, August 10, 2022

Curriculum Mortae

 Curriculum Mortae

—A Dissident Citizen Poet Professor’s Resume—

G. Tod Slone, PhD

todslone@hotmail.comwww.theamericandissident.org 


Dissidence:  If there is no risk when speaking rude truth, there is really no dissidence.  It is for that reason that dissidence really implies, at least in America, criticism on the local level.  Evidently, there is no risk at all criticizing an American president, thanks to democracy’s legal framework.  Examine my two essays:  “The Cold Passion for Truth Hunts in No Pack” and "Notes on RISK and Writing."  


By openly criticizing the academic/literary/art establishment administrators, I personally risked jobs, promotions, invitations, grants, publications, and general blacklisting.   As for  the latter, the Cape Cod Times, for example, will not include me in its list of Cape Cod authors because I’ve dared criticize its editors.  The Academy of American Poets, Poets & Writers, Poetry Foundation, NewPages.com, Arts & Letters (Chronicle of Higher Education), Publishers Weekly, American Libraries Magazine et al have essentially blacklisted The American Dissident (see below), the journal I publish.  The very term, dissident, stems from opponents of socialist/communist authoritarian regimes and requisite in-lockstep groupthink.  It needs to be applied more frequently in America because such authoritarianism has become an integral part of the nation.  Those who toe the line—the bulk of so-called professionals—will automatically detest somebody like me.  Indeed for a summary of the ad hominem (kill the messenger/avoid his message) hurled my way, examine 


Dissident Objectives:  “Go upright and vital, and speak the rude truth in all ways” (Emerson); let my life “be a counterfriction to stop the machine” (Thoreau), “write because there is some lie that I want to expose, some fact to which I want to draw attention” (Orwell), and teach students and others the importance of individuality and dissidence in a democracy, and open their hearts to hardcore criticism, while encouraging them to learn and create from it.  


Dissident Formation and Experience(For a number of other examples of my dissidence, examine “Testing the Waters of Democracy” on The American Dissident website.

The Sixties.  While the Sixties perhaps sensitized me to ubiquitous corruption, it also pressured me to de-individualize, groupthink, and group behave, in essence, prerequisites for a successful career as a university professor or other such “professional.”  

Université du Maine (1980-82) and École Nationale de Mécanique (1982-88). While a lecteur de langue anglaise in France, I became interested in reprobates Villon and Céline, as well as other French authors.  There, I also read Bukowski for the first time and in French and consequently wrote some of my first poems in French.  

Elmira College (1989-1991) Faculty/administrative corruption/apathy transformed me into a firm dissident (i.e., truth-speaking individual, as opposed to careerist ladder climber).   Deans sided with a handful of students, who complained now and then that I’d offended their sensitivities.

—My first truly critical essays and poems were published in The Octagon, the student newspaper. They criticized students and my so-called colleagues, as well as administrators.

—I created and disseminated my first critical newsletters, “Purple Marasmus,” which I distributed mostly to the Humanities faculty, who I harshly criticized in them.  Elmira’s color logo is purple.  

Fitchburg State College (1991-1996). My eyes were further opened to academic corruption (e.g., a closet homosexual department chair wanting me to visit him every weekend at his home, highly whimsical faculty evaluations, nepotism, eviction mid-semester from my office w/o due process, a prevaricating dean and apathetic faculty). The American Association of University Professors and the ACLU of Massachusetts remained silent regarding my grievances of state-college corruption.

—Eviction from my college office (McKay Campus) mid-semester due to one complaint by a colleague that she was afraid of me, despite my having no criminal record.  To this day, I could be arrested if I stepped foot on McKay Campus.

—Received a year’s salary as settlement payment after a lengthy in-house hearing.  The college never admitted wrong-doing.

—The student, local, and state newspapers (Boston Globe), as well as The Chronicle of Higher Education, refused to publish my accounts of corruption at Fitchburg State, which provoked me to begin publishing a newsletter, Corruption Magazine, which morphed into Corruption Massachusetts.

Martha’s Vineyard Regional High School (1998).  My experience at this so-lauded “blue-ribbon” high school, as a full-time substitute babysitter, resulted in a few highly critical published op-eds in the local newspaper, as well as a non-fiction novel, Total Chaos (People’s Press—2001).  

The American Dissident (created in 1998). A 501 3c nonprofit journal of literature, democracy, and dissidence places rude-truth telling and risk above team-playing, networking, and turning a blind eye.  Sadly, it is rare for poets, writers, artists, editors, and journalists to engage in such a modus operandi.  

Walden Pond State Reservation (1999).  Arrest and incarceration in a Concord jail cell for a day.  I was solo protesting the absence of free speech at Walden Pond State Reservation.  Both the local media and Thoreau Society were pathetically apathetic.  The judge dropped the case against me at the Concord Court House.  

Bennett College (2001-2003).  Numerous highly critical op-eds were published in the local and college newspapers.  

Festival International de la Poésie de Trois-Rivières (Québec—2001).  The only invited and remunerated poet out of 150 who dared criticize the hands that fed in the form of poems I’d written in French.  Never invited back.    

Eastern Connecticut University (2002). Wrong skin color (and who knows how many other institutions I’d applied to rejected me for the same reason). Agustin Bernal, Dept. Chair:  “The search for the tenure-track position in Spanish/French was declared ‘failed’ by the administration, after three equally acceptable finalists (you among them) were submitted to them for campus interviews. The entire pool of candidates was reviewed and they concluded it wasn't ‘deep’ or ‘diverse’ enough to be satisfactory.”

The Concord Poetry Center (2004).  Director Joan Houlihan stated:  “The idea of your teaching a workshop or delivering a lecture on the art of literary protest or poetry protest, or simply protest (Concord is where it all started!) occurred to me even before you mentioned it, so, yes, it’s something I will consider as we progress (this is only our first event).  However, I must say I don’t favor having you teach at the center if you protest the reading.”  Evidently, I chose to protest the reading.    

—The complete silence of PEN New England (“defending freedom of expression”), regarding impediments to my freedom of expression and the likely influence of poet Joan Houlihan on PEN director Karen Wulf, both comfortably installed at Lesley University, further provoked my questioning and challenging of such organizations.

—The silence of some 500 college English professors regarding my attempts to interest them in radically altering the academic culture of sycophancy, turning a blind eye, careerism, PC, and prevarication confirmed my observations that college professors tended to be apparatchik careerists first, while truth tellers last.  

geocities.com/enmarge.  That was my first website URL, which was removed sometime in the mid 2000s due to one anonymous complaint.  Geocities refused to respond to my protest with that regard.  Vice notes, “Geocities was one of the first places your average person could make a website for free.”  Yeah, well, it was also one of the first places that began censoring websites!  

Grambling State University (2005-2007).  This was my second experience at an all black (HBCU) college.  There I found the same intellectual corruption, as I’d found at Bennett College,… and wrote a number of highly critical op-eds published in the student newspaper.  

Watertown Free Public Library (2008).  The director issued a six-month no-trespass order with my regard without due process for my attempting to interest its reference librarian in subscribing to The American Dissident.  

Academy of American Poets (2009).  My comments on the Academy’s website were censored and I was banned from participating in its online forums.  No reason was provided for the banning.

American Public University (2010-2017).  Online instructor of English.  This was my very last teaching job… because I disobeyed the Chair’s order that I cease expressing myself… regarding criticism lodged against me.  

Sturgis Library (2012).  Permanently banned from my neighborhood library w/o warning and w/o due process.  The reason:  “for the safety of the staff and public.”  Five days prior to the banning I’d sent to the library directors of the Clams Library System of Cape Cod a critical essay of their collection development policy, which states, “libraries should provide materials and information presenting all points of view.”  Also, prior to the banning, the Barnstable Patriot interviewed me.  


Dissident Publications. Numerous critical letters to the editor of student newspapers at colleges employing me confirmed professor indifference to matters of corruption, free speech, and vigorous debate.  A number of those letters can be viewed on my blogsite.  Numerous publications of poetry, essays, satirical cartoons, novels, and plays.  Some of those publications can be viewed on my website and at globalfreepress.org/contributors/usa/g-tod-slone and globalfreepress.org/cartoonists/g-tod-slone

Dissident Art Exhibits.  Critical art exhibits at the Concord Free Public Library (2008) and Sturgis Library (2011).

Solo Protests.  Staging of various solo protests critical of state-sponsored poets at the Concord Poetry Center, Concord Free Public Library, Robert Creeley Prize in Acton, and elsewhere confirmed poets were largely indifferent to questions of free speech and vigorous debate.  

Foreign Languages Spoken and Written:  French (near-native fluency—Parisian and québécois), Spanish (fluent), Italian (intermediate fluency), German (reading fluency)

Professional Formation & Experience

Doctorate in English (Université de Nantes, Nantes, France), 

M.A. in French (Middlebury College), 

B.A. (Northeastern University).

Online adjunct English/Spanish instructor, American Public University System; English instructor, US Navy (Central Texas College),Visiting professor of French and Spanish (Grambling State University), Online writing instructor (Davenport University), Assistant professor of French and Spanish (Bennett College) and (Fitchburg State College), Assistant professor of Humanities (Elmira College), Lecteur de langue anglaise (École Nationale Supérieure de Mécanique, Nantes, France) and Université du Maine (Le Mans, France), Adult Education instructor of Spanish (Concord-Carlisle Adult & Community Education, Concord, MA), High school mid-year replacement teacher of Spanish (Martha’s Vineyard Regional High School, MA), Community college instructor of Spanish (Mount Wachussetts Community College, Gardener, MA), Language program director in Martinique, France (ASA International Adventures, Amronk, NY), Lecturer of French (Northeastern University, Boston, MA), High School teacher of French (Nazareth Academy, Wakefield, MA), Shipyard welder (General Dynamics), radiation monitor (Groton submarine base), FDIC bank examiner (South Dakota), interpreter/translator (Le Mans auto race—11 consecutive years), census taker…

Publications See http://theamericandissident.org/g_tod_slone_books.html


This CM is a work in progress…

Thursday, February 6, 2025

Curriculum Mortae

 Curriculum Mortae

—A Dissident Citizen Critic’s Resume—

G. Tod Slone, PhD

217 Commerce Rd., Barnstable, MA 02630

todslone@hotmail.comwww.theamericandissident.org 


Dissidence:  If there is no risk when speaking rude truth, there is really no dissidence.  It is for that reason that dissidence really implies, at least in America, criticism on the local level.  Evidently, there is no risk at all criticizing an American president, thanks to democracy’s legal framework.  Examine my two essays:  “The Cold Passion for Truth Hunts in No Pack” and "Notes on RISK and Writing."  


By openly criticizing academic/literary establishment curators et al, I personally risked jobs, promotions, invitations, grants, awards, publications, and ostracizing.  As for the latter, the Cape Cod Times, for example, will not include me in its list of Cape Cod authors because I’ve dared criticize its editors.  The Academy of American Poets, Poets & Writers, Poetry Foundation, NewPages.com, Arts & Letters (Chronicle of Higher Education), Publishers Weekly, American Libraries Magazine et al have essentially blacklisted The American Dissident, the journal I’ve been publishing since 1998.  The very term, dissident, stems from opponents of socialist/communist authoritarian regimes and requisite in-lockstep groupthink.  It needs to be applied more frequently in America because such authoritarianism has become an integral part of the nation.  Those who toe the line—the bulk of so-called professionals—will automatically detest somebody like me. 


Dissident Objectives:  “Go upright and vital, and speak the rude truth in all ways” (Emerson); let my life “be a counterfriction to stop the machine” (Thoreau), “write because there is some lie that I want to expose, some fact to which I want to draw attention” (Orwell), and teach students and others the importance of individuality and dissidence in a democracy, and open their hearts to hardcore criticism, while encouraging them to learn and create from it.  


Dissident Formation and Experience(For a number of other examples of my dissidence, examine “Testing the Waters of Democracy” on The American Dissident website.

The Sixties.  While the Sixties perhaps sensitized me to ubiquitous corruption, it also pressured me to de-individualize, groupthink, and group behave, in essence, prerequisites for a successful career as an academic or other such “professional.”  

Université du Maine (1980-82) and École Nationale de Mécanique (1982-88). While a lecteur de langue anglaise in France, I became interested in reprobates Villon, Céline, and even Ferré, as well as other French authors.  There, I also read Bukowski for the first time and in French and consequently wrote some of my first poems in French.  

Elmira College (1989-1991) Faculty/administrative corruption/apathy transformed me into a firm dissident (i.e., truth-speaking individual, as opposed to careerist ladder climber).  Deans sided with a handful of students, who complained now and then that I’d offended their sensitivities.

—My first truly critical essays and poems were published in The Octagon, the student newspaper. They dared question and challenge my so-called colleagues, as well as administrators.

—I created and disseminated my first critical newsletters, “Purple Marasmus,” which I distributed mostly to the Humanities faculty, who were harshly criticized in them.  Elmira’s color logo is purple.  

Fitchburg State College (1991-1996). My eyes were further opened to academic corruption (e.g., a closet homosexual department chair wanting me to visit him every weekend at his home, highly whimsical faculty evaluations, nepotism, a prevaricating dean and apathetic faculty). The American Association of University Professors and the ACLU of Massachusetts remained silent regarding my grievances of state-college corruption.

—Eviction from my college office (McKay Campus) mid-semester w/o due process because of one complaint by a colleague that she was afraid of me, despite my having no criminal record and no accusations of threat making.   To this day, I could be arrested if I stepped foot on McKay Campus.

—Received a year’s salary as settlement payment after a lengthy in-house hearing.  The college never admitted wrong-doing.

—The student, local, and state newspapers (Boston Globe), as well as The Chronicle of Higher Education, refused to publish my accounts of corruption at Fitchburg State.  And so I created a newsletter, Corruption Magazine, which morphed into Corruption Massachusetts.

Martha’s Vineyard Regional High School (1998).  My experience at this lauded “blue-ribbon” high school, as a full-time substitute teacher, resulted in a few highly critical published op-eds in the local newspaper, The Martha’s Vineyard Times, as well as a non-fiction novel, Total Chaos (People’s Press, 2001).  

The American Dissident (1998). A 501 3c nonprofit journal of literature, democracy, and dissidence places rude-truth telling and risk above team-playing, networking, and turning a blind eye.  To date, 48 issues have been published and distributed across the country.  Yale, Johns Hopkins, Buffalo State, and a few other institutions of higher learning currently subscribe.  It has been a virtual battle to get libraries to do so.  

Walden Pond State Reservation (1999).  Arrest and incarceration in a Concord jail cell for a day.  I was solo protesting the absence of free speech at Walden Pond State Reservation.  Both the local media and Thoreau Society were pathetically apathetic with that regard.  Three months later, Judge Sanders dropped the case against me at the Concord Court House.  

Bennett College (2001-2003).  A number of highly critical op-eds were published in the local and college newspapers.  

Festival International de la Poésie de Trois-Rivières (Québec—2001).  The only invited and remunerated poet out of 150 who dared criticize the hands that feed in the form of poems I’d written in French.  Never was I invited back.   PEN Canada refused to respond to my criticism of the Festival.

Eastern Connecticut University (2002). Wrong skin color (and who knows how many other institutions I’d applied to rejected me for the same reason). Agustin Bernal, Dept. Chair noted:  “The search for the tenure-track position in Spanish/French was declared ‘failed’ by the administration, after three equally acceptable finalists (you among them) were submitted to them for campus interviews. The entire pool of candidates was reviewed and they concluded it wasn't ‘deep’ or ‘diverse’ enough to be satisfactory.”

—The Concord Poetry Center (2004).  Director Joan Houlihan stated:  “The idea of your teaching a workshop or delivering a lecture on the art of literary protest or poetry protest, or simply protest (Concord is where it all started!) occurred to me even before you mentioned it, so, yes, it’s something I will consider as we progress (this is only our first event).  However, I must say I don’t favor having you teach at the center if you protest the reading.”  Evidently, I chose to protest the reading.    

—The complete silence of PEN New England (“defending freedom of expression”), regarding impediments to my freedom of expression and the likely influence of poet Joan Houlihan on PEN director Karen Wulf, both comfortably installed at Lesley University, further provoked my questioning and challenging of such organizations.

—The silence of some 500 college English professors regarding my attempts to interest them in radically altering the academic culture of sycophancy, turning a blind eye, careerism, PC, and prevarication confirmed my observations that college professors tended to be apparatchik careerists first, while truth tellers last.  

geocities.com/enmarge.  That was my first website URL, which was removed sometime in the mid 2000s due to one anonymous complaint.  Geocities refused to respond to my protest with that regard.  Vice noted that “Geocities was one of the first places your average person could make a website for free.”  Yeah, well, it was also one of the first places that began censoring websites!  

Grambling State University (2005-2007).  This was my second experience at an all black HBCU.  There I found the same intellectual corruption, as I’d found at Bennett College,… and wrote a number of highly critical op-eds published in the student newspaper.  Bravo to the black students at both of those institutions for publishing them.

Watertown Free Public Library (2008).  The director issued a six-month no-trespass order with my regard without due process, for my attempting to interest its reference librarian in subscribing to The American Dissident.  No threats were ever made, nor was I accused of making any.

Academy of American Poets (2009).  My comments on the Academy’s website were censored and I was banned from participating in its online forums.  No reason was provided for the banning.  Examine “https://theamericandissident.org/orgs/academy_american_poets.html

American Public University (2010-2017).  Online instructor of English.  This was my very last teaching job… because I disobeyed the Chair’s order that I cease expressing myself… regarding criticism lodged against me.  

Sturgis Library (2012).  Permanently banned from my neighborhood library w/o warning and w/o due process.  The reason:  “for the safety of the staff and public.”  Five days prior to the banning I’d sent an open letter to the library directors of the Clams Library System of Cape Cod, critical of their collection development policy, which states, “libraries should provide materials and information presenting all points of view.”  Also, prior to the banning, the Barnstable Patriot had interviewed me.  I’d written a second open letter.  See http://wwwtheamericandissidentorg.blogspot.com/2025/01/open-letter-to-public-librarians-of.html and https://wwwtheamericandissidentorg.blogspot.com/search?q=open+letter


Dissident Publications. Numerous critical letters to the editor of student newspapers at colleges employing me confirmed professor indifference to matters of corruption, free speech, and vigorous debate.  A number of those letters can be viewed on my blog (see http://wwwtheamericandissidentorg.blogspot.com/).  Numerous publications of poetry, essays, satirical cartoons, novels, and plays.  Some of those publications can also be viewed on The American Dissident website, globalfreepress.org/contributors/usa/g-tod-slone, and globalfreepress.org/cartoonists/g-tod-slone

Dissident Art Exhibits.  Critical art exhibits at the Concord Free Public Library (2008) and Sturgis Library (2011).

Solo Protests.  Staging of various solo protests critical of state-sponsored poets at the Concord Poetry Center, Concord Free Public Library, Robert Creeley Prize in Acton, and elsewhere sadly confirmed poets were largely indifferent to questions of free speech and vigorous debate.  

Foreign Languages Spoken and Written:  French (near-native fluency—Parisian and Québécois), Spanish (fluent), Italian (intermediate fluency), German (reading fluency)

Professional Formation & Experience

Doctorate in Canadian Studies (Université de Nantes, Nantes, France) 

M.A. in French (Middlebury College) 

B.A. in Psychology (Northeastern University)

Online adjunct English/Spanish instructor, American Public University System; English instructor, US Navy (Central Texas College), visiting professor of French and Spanish (Grambling State University), online writing instructor (Davenport University), assistant professor of French and Spanish (Bennett College) and (Fitchburg State College), assistant professor of humanities (Elmira College), lecteur de langue anglaise (École Nationale Supérieure de Mécanique, Nantes, France) and Université du Maine (Le Mans, France), adult education instructor of Spanish (Concord-Carlisle Adult & Community Education, Concord, MA), high school mid-year replacement teacher of Spanish (Martha’s Vineyard Regional High School, MA), community-college instructor of Spanish (Mount Wachussetts Community College, Gardener, MA), language-program director in Martinique, France (ASA International Adventures, Amronk, NY), lecturer of French (Northeastern University, Boston, MA), high-school teacher of French (Nazareth Academy, Wakefield, MA), shipyard welder (General Dynamics), radiation monitor (Groton submarine base), FDIC bank examiner (South Dakota), interpreter/translator (Le Mans auto race—11 consecutive years), census taker, etc…

Publications See http://theamericandissident.org/g_tod_slone_books.html.(needs to be updated)


NB:  On Cape Cod in Massachusetts, where I've been living since 2010, due to my testing the waters of democracy, all cultural institutions have closed their doors to my writing and art.  


This CM is a work in progress…