Deconstruction Slam

as I regale you with cliché and tales of ancestors ive never known/i end this oral tome/drenched in sweat/wiping away the crocodile tears/of happy endings/in a make believe world/where people speed listen and skim//the poet goes round/making ends meet/by beating muthafuckas over the head with sound/banging tuning forks on minds/looking for vibrations that don’t stop with time

Beatty, Paul. “Verbal Mugging.” Nuyorican Symphony: Poets Live at the Knitting Factory. Recording of “The One Hundred Greatest Poets of All Time” live at the Knitting Factory, June 8, 1992. Knitting Factory Records.

People who do not tell stories well, listen to stories effectively and learn to deconstruct those stories with a skeptical ear will be more apt to be victims of … exploitation and power games. Stories have many interpretations. If one interpretation gets pasted over all the rest and becomes a dominant or the only political acceptable way to interpret events, we have ideology, domination, and disempowerment. Part of exploitation is to deny an interpretation, point of view, or experience, that differs from the dominant view. Rhetoric about healthy, happy, and terrific harmony and unity can mask just the opposite reality. A simple sounding moral or prescription about consensus or teamwork can mask deeper costs in terms of power and domination. (339)

Story Deconstruction Method

1. Duality Search. Make a list of any bipolar terms, any dichotomies that are used in the story. Include the term even if only one side is mentioned.
2. Reinterpret. A story is one interpretation of an event from one point of view. Write out an alternative interpretation using the same story particulars.
3. Rebel Voices. Deny the authority of the one voice. What voices are being expressed in this story? Which voices are subordinate or hierarchical to other voices?
4. Other Side of the Story. Stories always have two sides. What is the [other] side of the story (usually a marginalized, under-represented, or even silent) …?
5. Deny the Plot. Stories have plots, scripts, scenarios, recipes, and morals. Turn these around.
6. Find the Exception. What is the exception that breaks the rule, that does not fit the recipe, that escapes the scrictures of the principle? State the rule in a way that makes it seem extreme or absurd.
7. State What is Between the Lines. What is not said? What is the writing on the wall? Fill in the blanks. … What are you filling in? With what alternate way[s] could you fill it in? (340)

Boje, David M. and Robert F. Dennehy. Managing in the Postmodern World: America’s Revolution Against Exploitation. Dubuque, IA: Kendall/Hunt Publishing, 1993.