2021
DOI: 10.1080/02690055.2021.1838789
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Grenfell, Race, Remembrance

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Cited by 8 publications
(5 citation statements)
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“…Narrative therapy does not change reality but rather modifies people’s relationships to what is problematic, through exploring alternative, new meanings. As Launchbury (2021) explains, participatory storytelling reveals the hidden agency of storytellers in accounting for shared experience and harnesses dissent where it challenges power and authority to offer radical therapeutic potential. Reflecting on COVID-19, it is not hard to find such narrative therapy projects as UK’s “Write where we are now” and Australia’s “Bridging the distance,” which encourage people to make sense of the non-routine, novel situations by sharing stories for mutual reassurance.…”
Section: Literature Reviewmentioning
confidence: 99%
“…Narrative therapy does not change reality but rather modifies people’s relationships to what is problematic, through exploring alternative, new meanings. As Launchbury (2021) explains, participatory storytelling reveals the hidden agency of storytellers in accounting for shared experience and harnesses dissent where it challenges power and authority to offer radical therapeutic potential. Reflecting on COVID-19, it is not hard to find such narrative therapy projects as UK’s “Write where we are now” and Australia’s “Bridging the distance,” which encourage people to make sense of the non-routine, novel situations by sharing stories for mutual reassurance.…”
Section: Literature Reviewmentioning
confidence: 99%
“…Whatever the source and motivation, silence articulates the voice and feelings of the community. Far from passive or inarticulate or muted, the silent walk is active, articulate and impassioned (see Launchbury, 2021; Tekin and Drury, 2021). Silent does not mean it did not have things to say.…”
Section: Responding To Grenfell: Openness and The Politics Of Alteritymentioning
confidence: 99%
“…As Claire Launchbury has written of this work, at Grenfell, "the structural and bureaucratic disempowerment of residents [has been] resisted by the interventions of a number of representatives, especially writers and musicians, who have fought to overcome the community's silencing." 25 By representing and recognizing the Grenfell community, poetic responses to the fire aim to bring about a different reality, one that is rooted in the social fact of the community's humanity. Or to put this another way, by writing against the social murder that took place at Grenfell, this body of poetry provides a form of social life.…”
Section: You Saw It You Heard Itmentioning
confidence: 99%
“…In Okri's poem, writes Launchbury, the cladding becomes "a metaphor for the vacuous and the empty, a list of different claddings." 29 But it also operates as a metaphor for the thickness of racial capitalism's hungry optics, its determination to represent land as ripe for regeneration and to dehumanize those who stand in its way. In this context, Okri's repeated use of the second person, "you," takes on an understandably accusatory tone, interpolating the poem's readers and listeners as witnesses to-or perhaps even as culprits of-a crime.…”
Section: You Saw It You Heard Itmentioning
confidence: 99%
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