Caught in a narrative woven by the victorious, history is overwhelmed by questions of truth. Written into our textbooks, brainwashed in propagandas, and passed on by generations, people are often offered a history of our past as well as a status quo to contemporary life. The narrator stretches across to benefit the ones who demand such erasure of a traumatic past and unjust instant. In the manner of the New World's discovery celebrated, rarely is the storytelling process interrupted by questions referring to imperial violence. With every story told comes with stories untold. Yet, what if the story is constantly interrupted in the prevention of suturing the audience into such eradication of inequality? As much as a celebratory narration glamour, the true anodyne to the human race lies in the pain of critical consciousness. A continuum of a dream must be constantly woke to live out freedom in reality.


From centuries of imperial narrative to capitalistic prevalence in contemporary social structure, interruption serves to influence the way a voice is spoken as well as the way a group of audience may perceive it. For one to position oneself into a cacophony of social injustices and political turmoils, art holds visceral power in upholding the intimacies one has with the unspoken truths through poetics of interruption. In evoking critical consciousness to break the rules of social construct, arts and theatre serve as a crucial medium to interrupt the universalized narrative. Elicited in lenses and social context of the 1999 film Cradle Will Rock, the poetics and politics of interruption attempts to push audience into visualizing new forms of social reality.


Cradle Will Rock employs various forms of interruption to speak of its necessity. Moments appear from the very beginning of the film where Marc Blitzstein's late wife and the famous theatre practitioner Bertolt Brecht interrupt his new musical's composing process. Speaking as the deceased, Blitzstein's wife, and Brecht standing side by side to him represent a connection between the living and dead in the growing intimacy between present and past. Even hinted from the most literal sense, it is such intrusion of the past that inspired the composing of this pro-union play. Without the help of the two ghostly figures, Blitzstein would have been stuck in writing on prostitution, merely alluding to superficial and generalized societal environments. The three characters work together to reaffirm the power of the past as their stories and ideas remain lively as new to future generations. However, while Brecht stands as a revolutionary figure in the realm of theatre, his value is being held the same to Blitzstein's wife when the both of them hold equal importance to Blitzstein's thought process. Whether a person is renowned or ordinary, both can hold powerful gravity in the present world to speak of society's collective memory. With the death of revolutionary figures who have fought for their freedom during their time, the martyr's spirit comes rushing back in to motivate the resisting souls in pushing their ideas further. Yet, for a sutured audience to break free and create what others have not dared to think of, it requires full attention given to both the praised and obscured interruptions.


Diving deeper into Bertolt Brecht, the film situates him beyond a simple interruption reflecting Blitzstein on the rallied unions about, but also alludes to his reforming approaches in theatre. Poetics of interruption tie closely to Brecht's psychologies of theatre where the distancing between audience and art is emphasized through his derivation of an epic theater. Written into his book Brecht on Theatre, he iterates the importance of a distancing effect, otherwise known as the verfremdungseffekt,that would force audiences to face theatre's artifice instead of being sutured into a seemingly natural narrative. Different from a dramatic theatre's spectator that would rally on a work's dependence on full empathy in the manner of 'I weep when they weep, I laugh when they laugh,' an epic theatre's spectator would "laugh when they weep, weep when they laugh" (Brecht 71). To distance the audience from the work is then to formulate an interruption of the suturing process into evoking people's critical consciousness. Hence to attain this form of critical thought on a narrative's reliability, a work must diverge from the dramatic approach and make the familiar strange to motivate audiences to question the contradictions in constructed social means.


Filmed and edited around Brecht's aims in theories, Cradle Will Rock secludes audiences' full empathy by interrupting their linear focus. The entire film revolves around a group of characters instead of a single protagonist. From Olive Stanton to Tommy Crickshaw, everyone is being given a name and voice for all are being viewed indispensable from the collective entity. Interrupted by a plurality of characters and perspectives, the film encourages audiences to break away from full resonation to any single character, thereby attaining a critical lens other than a biased view. Not only does the film distances the audience by diverging attention amongst staged characters, but the staged artifice also forces criticism by introducing a montage of events or of making the 'background' to the front of the stage so people's activity was subjected to criticism (Brecht 72). Taking the storyline of Blitzstein's play composed, rehearsed, and performed, the film does not finish it in one single continuous narrative. Instead, it is narrated concurrently with other storylines such as Nelson Rockefeller's commissioning of Diego Rivera and Hazel Huffman's opposition against the Federal Theatre Project. The method of cutting into different scenes leaves audiences no time to weave themselves into any particular storyline as their dramatic experience gets constantly interrupted by other simultaneous events.


As of bringing the submerged background afloat, not only does the film consider a larger scope of lower classes' social context in comparison to the upper classes' extravagant lifestyle, it also layers in the background for individual characters such as Olive Stanton and Aldo Silvano. Followed by the scene at the beginning where Olive Stanton appears in ragged clothes waking up from the theater, scenes of Blitzstein and Constance La Grange interrupt the narration to explicitly compare three different classes' living qualities as art pursuers. While Stanton and Blitzstein are spending countless efforts in approaching their artistic role, La Grange, having her breakfast, reads off a newspaper headline " 5 die; 27 injured in steel riot" where Carlo sitting across rolls his eyes. In the manner of such blatant disregard to the riot held in contrast to Stanton and Blitzstein's struggling journey, Brechtian psychologies in the theatre play in tempting the audience to question this comparison. As backgrounds now bombard with socially constructed foregrounds to formulate this ball of messy events and characters in the end, "the spectator was no longer in any way allowed to submit to an experience uncritically by means of simple empathy with the characters in [film]" (Brecht 71). With these scenes followed by Olive Stanton joining in a long queue of job seekers, the film deftly amplifies the question of social and economic gap amidst the 1930s Great Depression's anxiety. In Brecht's language, the stage began to be instructive (71). The constant interruption of events builds up the fourth wall in Cradle Will Rock's cinematic experience to help audiences realize the staged performance and politics—pushing people to think beyond the screen in the reflection of society's backgrounds.


The moment Brecht's theatrical practice breaks away from sutured linearity and logic, epic theatre urges contemplation in contradictory pluralities on the flip side. When scenes from different storylines interrupt each other, director Tim Robbins is crossing over history to juxtapose events that are years away from each other in reality. Although Rivera's Man at the Crossroads came down in early 1934 (Sullivan) and Blitzstein's play The Cradle Will Rock first performed in 1937 (The New York Times), the ending intercuts the two historical events to deconstruct the linear chronology. When Cradle Will Rock's opening runs in a montage with the scene of workers hammering off Rivera's mural, Robbin's narration of the story becomes multifaceted. He, therefore, employs epic theatre ideologies to invite audiences in questioning the film's intention. Interrupting the cinematic experience by pulling different representations of history helps the audience visualize the pluralities in which art can voice about politics; where the two events work together to prove subjectivity against oppression. Further accompanied by the ending scene of performers staging a funeral for the Federal Theatre Project, Robbins exemplifies Brecht's instructive theatre where "people were shown who knew what they were doing, while others did not" (Brecht 72). The interruption of Tommy Crickshaw walking the streets with his dead dummy between the scene where The Cradle Will Rock's performers rejoice in jubilation pulls the audience into contemplating the comparison—in how people can create something new—as to how plays can be performed amongst the audience instead of succumbing to government's impositions. These contradictions in how groups of artists and performers are carrying out their art beliefs in response to the same political environment attempt to evoke audiences' critical consciousness; as Brechtian methods of interruption underscores the turmoils art is responding to.


Focusing specifically on the character Tommy Crickshaw, audiences are presented with the ambivalence in his representation of plural historicities existent. In Brechtian theatre, characters are no longer fixed with characteristics but known as figures of cultural influence open to change in both attitude and behavior (Barnett). A figure is then a sum of various qualities or Haltugen, that can be self-contradictory (Barnett). By analyzing Crickshaw as a figure in terms of Haltugen, we see him being a hybrid of the contradictory left and right-wing. In the beginning, he attempts to provoke the federal theatre project by claiming, "Vaudeville will be around long after you and your communists are." Though his passion for Vaudeville and ventriloquism is evident, he despises his role to teach nonexperienced students as he refers to himself being "not a teacher, but an entertainer." While Hazel Huffman stands in line with the right-wing by proclaiming anti-Federal Theatre testimonies, the scene where Crickshaw helps Huffman rehearse her testimony further reassures a part of his Haltugenagainst the theatre project. However, contradictions soon appear when their conversation is often cut off by his dummy and other scenes as forms of interruption trying to evoke Crickshaw's resistance towards Huffman's testimony. Moments where he speaks as his dummy, Crickshaw's identity as a ventriloquist signifies his other self trying to voice against the anti-FTP narrative Huffman is imposing onto him. The contradictory behavior between his dummy and himself then constructs Tommy Crickshaw as a brilliant metaphor to silenced voices' attempt to interrupt a colonial or capitalistic narration. Despite he succumbed to Vaudeville's inflicted end at last, his ending performance where his dummy sings "The Internationale" proves his critical sensibility rushing back in for resistance. Such contradictions in Crickshaw's figure in turn urge audiences  "curious as to why the same person has done such peculiar, contradictory things" (Barnett). Shown with the "right and wrong courses of action" (Brecht 72) in contrast to how The Cradle Will Rock responded to the forbiddance of union performances, Crickshaw's end becomes inevitable as he denies art's role to educate and spark for change. By the time Crickshaw can interrupt with the truths he demands without the facade of a dummy, he will be able to resist his assimilation into a woven social construct.


Iterated throughout Brecht's ideologies that theatre not only reflects society but also changes it, Cradle Will Rock's psychologies in art and theatre carries politics of interruption further to contemplate the importance of critical consciousness.  Similar to how Brecht employs theatrical contradictions to evoke audience's questioning of reality, Brazilian educator Paulo Freire in his influential workPedagogy of the Oppressed, asserted the term conscientização as the "learning to perceive social, political, and economic contradictions, and to take action against the oppressive elements of reality" (35). Through Cradle Will Rock, philosophical and theatrical approaches of contradictions intertwine to cast art and theatre as a representation of society that one must interact critically. When different scenes clash with each other as interruptions to full empathy, contradictions in both character behaviors and social realities are sewn indispensably into the cacophony. Why does Crickshaw help Huffman rehearse her testimonies against FTP despite his devotion to Vaudeville? Why does Hazel Huffman cry to Crickshaw's communist homage despite her urge to shut down the FTP? Why does Sarfartti disagree with Rivera's political position despite her support for Rivera's art? Why are some performers struggling so much in life despite their appreciation for art's essence while some higher classes live extravagantly by manipulating art as a mere commodity——as much as audiences may find these rhetorical questions superfluous or even irritating during the viewing experience, series of contradictions help distant the audience to consider its meanings. Understanding theatre and art as reflections of reality socially, politically, and economically in light of Pedagogy of the Oppressed can help people become subjects who know and act, instead of objects which are known and acted upon (36). Hence when Blitzstein's play is interrupted by the government, not only are audiences of the play given insight into the oppressive elements against labor unions, audiences of the film Cradle Will Rock are also forced onto pondering the possibilities to break socially constructed rules and ideologies. Stepping beyond the scope of Works Progress Administration, the film's deliberate interruptions to a universalized dramatic experience motivate audiences themselves to see the oppressive elements and avoid Tommy Crickshaw's ending.


Analyzed further into Freire's pedagogical methods, recognizing oppressive elements is merely the first step for one to be empowered to interrupt. In Professor David Dillon's studies on Freire's critical pedagogy and with himself being a professor on theatre and critical consciousness, he has broken down Freire's continuum kinds of consciousness into four stages. Using bread as an analogy to social reality, the powerless end accepts to have little bread while the next stage marks the beginning of avoice that demands fresher bread (Dillon 181). Moving on, the continuum shifts from an individual voice to a collective voice that is still caught up in the framework of society (181). The last stage, identified with the most empowered consciousness, is for the collective voice to control the bakery (181). With society driven by a universalized narrative, one can interpret the transformation of a voice to several voices as forms of interruption that intertwine to speak of a new inclusive social reality. Though such dialectic experience between the various interrupting and interrupted may be discordant, the inclusiveness may spark collisions of thoughts that no longer prevails through the oppression of another.


As a work of art interrupted literally in the film, Diego Rivera's Man at the Crossroads speaks of the longevity and succession of critical thought beyond death or deconstruction. In the film, Rivera argues against Saffarti that art and revolution are forged with the same political statement. Tying into history, Diego Rivera's decision to include Vladimir Lenin was a response to the World Telegram newspaper's headline "Rivera Paints Scenes of Communist Activity and John D. Foots the Bill" (Sullivan). Rivera's attempt to push his politics through art pinpointed a significant role in resistance history. Proving art's power in sustaining a political voice, his work interrupts the woven social framework as he paints the fresco into Rockefeller's center of capitalism. As a two-way relationship between the interrupting and the interrupted, Rivera's mural was taken down by Rockefeller's demand. However, Rivera claims that "rather than mutilate the conception [of the mural], I shall prefer the physical destruction of the conception in its entirety, but preserving, at least, its integrity" (qtd. in Okrent 312). By the time Rivera repaints Man at the Crossroads with a slight modification in Mexico City's Palacio de Bellas Artes (Sullivan), it is not only a fresco restored, but also an idea relived. Rivera's communist approach is then kept safe and sound despite the physical destruction of the original work with his critical thought living on. Audiences may then perceive the 1934 deconstruction in parallel with the ancestors who died resisting the social construct. As the film later zooms into the painted syphilis cell, it urges in the colonial memory of this disease brought upon the indigenous land. Hinting this relapsed memory to how now capitalism is in an attempt to erase other ideologies, Cradle Will Rock depicts Man at the Crossroad as one example out of innumerable others in reality, to see art as a medium to interrupt and influence.


However, for staged characters like Crickshaw to grasp agency and interrupt the imposed regulations on the Federal Theatre Project, is collective violence an imminent step to resistance? With the Federal Theatre Project itself playing as a form of interruption to the capitalist-driven social value by staging a pro-union musical into theater, people like Hazel Huffman would describe it as "too red". Seeing the lives lost and injured from chaotic riots and strikes during unions, it is evident that certain forms of interruption may lead to threats to social stability. Yet, forms of resistance demonstrated by physical violence might not pose as much threat to the oppressors as assumed. Noted earlier how Carlo rolled his eyes over the steel riots headlines, higher classes seem to grow detached from the dangers and struggles as if they are not living in a city with ongoing riots and labor strikes. On the contrary, Hazel Huffman as an indefatigable anti-Federal Theatre activist becomes irritated when her testimony rehearsal is constantly interrupted by Crickshaw's dummy. She fails to answer Crickshaw's question regarding federal payrolls as she feels distracted by the dummy's intervention. With the dummy representing a voice against the sutured narrative, Huffman's preference to converse without the dummy seeks to show the threat politics of interruption can pose. Though Crickshaw failed to defend his passion for Vaudeville as he puts away his dummy in compliance with Huffman's demand, alternative endings linger. Witnessing a distracted narrator through the intervention of other voices, politics of intervention through art and theatre holds potential in evoking the form of critical consciousness necessary to change society. Reaffirmed by Paulo Freire in Pedagogy of the Oppressed, freedom of thought and action is not obtained by solely risking life; for critical consciousness only makes victims of injustice recognize themselves from the system instead of destructive fanaticism (36). Knowing that a defined status quo only works to the advantage of elites, interruptions to their line of the story remain crucial for people who seek change. Unable to reverse the lives that were already lost in ages of imperial and capital violence, one must recognize art's power to educate and interrupt instead of mere death. With Brecht and Blitzstein's wife speaking as examples of interruption to produce Blitzstein's pro-union play, historical trauma diffused into art and theatre may help awaken society's critical sensibility from the true violence of erasure in a universalized narrative.


Learn from what is represented to you, but derive your own definition.


Interruption drives critical consciousness in turn to create new meaning, but what exactly is meant to create something new? Answered in the 1933 play The Cradle Will Rock, it is to create a pro-union work in defiance to their own union. As ironic as it sounds, when their socially constructed union no longer satisfies means to liberation, members of the play derived a new theatrical method to relay their resistance. The context of the musical summarizes the crucial ideas characters such as Diego Rivera and Bertolt Brecht are speaking for. Learned that they would be the first musical shut down by the government, the form of interruption sparked a revolutionary performance where the cast members would sing from the audience. Quoting Houseman from the 1937 New York Times newspaper, he states that "There has always been the question of how to produce a labor show so the audience feels like it is a part of the performance. This technique seems to solve that problem and is exactly the right one for this particular piece." With the musical itself reflecting society, the inclusion of the audience as part of the play enhances the effect of pushing audiences as active participants towards changing society. Without the union's interruption of forbidding its members performing on stage, the intervention could never have derived this reforming creation.


Referencing this historical moment, the film demonstrates Freire's notion of collective consciousness through Olive Stanton. Walking on the streets from the beginning, Stanton is almost rendered powerless without former performance experience. Stanton, demanding a job other than working off the streets, encounters her first contact with collectivity as the Works Progress Administration offers her a stagehand position. Though she was later encouraged by John Adair to perform as part of the musical, it was until the moment Stanton stood up in the audience that she created a new social reality. As other members joined her to continue the performance in the audience, the collective voice grows stronger to redefine musical when the previously defined musical was ceased by governmental regulations. This newly defined theatrical performance then grows into the dialectic conversation as they act in response to the interrupted narrative. With the musical speaking in critical lens against capitalistic oppression, The Cradle Will Rock lives out as a reflection of the political environment itself, in turn acting as a collective voice against the social and political constraints on art.


When The Cradle Will Rock redefines social reality in the realm of art, its projection in the film encourages the audience to visualize and define their demands for liberation. The process is never comfortable. As the musical's seated audience no longer watches the play with their head fixed into looking straight at the stage, the performance forces audience to constantly turn their bodies and heads around to follow the story. With Venice theatre being a two-floored mass theatre, every single audience has to look in all directions in their seats accordingly. In parallel to how the film Cradle Will Rock mimics the sense of uncomfortableness with its many plot lines and characters, one's viewing experience may be distressing as well. However, the cacophony of interruptive narrations happening here and there forces the audience to look around their society in attaining a continuum of consciousness. If one were to suture itself simply by looking at a single narrative, their critical sensibility can hardly guide them past the superficialities. The un-suturing of either imperial or capitalistic narratives is painful as one sees through the historical traumas the universalized narration is attempting to erase. Understanding the lives lost from slave rebellions to labor strikes, the oppressed lived and died to create their social reality. A universalized history benefits from silencing all forms of resistance in a way Chairman Dies seeks to silence Hallie Flanagan's testimony. In Flanagan's discontent for only having six hours of testimony when Hazel Huffman had three days as a mere clerk, Harry Hopkins claims the testimony being their show. "Their", in such case, refers to the committee who is not interested in Flanagan's reason and intelligence. With their attempt to write Flanagan out of the show, the anti-communist Congress ignores all reasons for justice by oppressing Flanagan's repudiation. Evident in Flanagan's failure of her individual voice against this group of committee, it is for a collective voice represented by Houseman's production that can successfully fight against the congress's act. The moment their show attempts to exclude and obscure certain perspectives, the oppressed must stand together to create their own show to interrupt the universalized definition. In light of The Cradle Will Rock redefining a show both theatrically and metaphorically, the 1999 film relays its energy to its audience in an attempt for society to revaluate pluralities to social narration through means of art and theatre.


By broadening the effects of critical procreation beyond the play's historical context, one can view the film as a debate interrupted by several political ideologies. Cradle Will Rock brings forth a collision between capitalism, communism, fascism, and other voices but only one uncategorized form of ideology constitutes the film's happy ending. With Blitzstein's musical gleaming in success, the formulation of this unnamed freedom deviates from any of the other political viewpoints as it proves every one of its performers as an essential role to the musical's function. Different from any of the other political values, the musical's triumph in the film no longer depended on an oppressive structure. In Pedagogy of the Oppressed, Freire clarifies that "in order for this struggle to have meaning, the oppressed must not, in seeking to regain their humanity (which is a way to create it), become in turn oppressors, but rather restorers of the humanity of both" (44). In his conversation with Nelson Rockefeller at the ball, the pope remarks a capitalistic approach on art where the elites pay dollars to control the future of art. By detesting Rivera in celebration of Matisse, capitalism's technique in marketing art as a commodity to shape a universalized narrative hints at its underlying injustice. As Nelson fails to attain an ideal mural for his building, so does the destruction of Rivera's fresco problematizes communism. With Karl Marx's philosophy of the proletariats reforming against the bourgeois, communism seeks to empower the proletariats into new cycles of oppression. Not to even mention the injustices existent in fascism's dictatorship, all three political viewpoints are dependent upon the cycle of suppression. Hence to live out the critical pedagogy, it is not to claim Matisse better than Rivera, proletariats over bourgeois, or regimentation of society, but to embrace the pluralities of voice as equivalent to one another. The musical's relative success in the film therefore gives rise to its emphasis on its newly defined liberation. The emphasis on inseparable collectivity, therefore, elicits an interruption's success into imagining and performing new political standpoints that break free from oppressive dominance.


In attaining full empowerment of critical consciousness, it takes efforts beyond class divisions to interrupt. While Cradle Will Rock encounters various political ideologies, it also takes a step further in interrupting the narration by introducing a spectrum of nationalities, ethnicities, and class. The addition of Margherita Sarfatti as a Jewish Fascist and Aldo Silvano as an anti-Fascist Italian reinforces a cross-national and ethnical approach in intervening universalized narrative. Yet, Sarfatti's denial of Rivera's effort to use art to reform situates her on the powerless end of Freire's continuum of consciousness. Despite her acknowledgment of "what a shame to let the classics sleep away" as she sells art to Gray Mathers, she is unable to break away from being Mussolini's emissary. She has assimilated herself into narration that markets art as a commodity other than an idea. For characters like Gray Mathers, Nelson Rockefeller, and Chairman Dies to be so fearful of a leftist idea, it is what Freire asserts as the fear for the oppressor to become the oppressed. When asked why Congress is so passionate about putting down Federal Theatre, Hallie Flanagan's statement that "it is not just anger, but fear" coincides with Freire's pedagogical analysis on the struggle for freedom. Yet, it is a fight that demands humility that should not arouse fear (Freire 90). The musical's grand success echoes a vision for people to embrace each other beyond the boundaries drawn by class and identity differences. If the dominant narration is represented by Gray Mathers's oppressive capitalism, Constance La Grange shows the ability of higher classes to break from the narration by embracing the interruptive voice. Her support for art, though at times may be misguided, demonstrates support for the politics and poetics of interruption instead of fear. In the scene where crowds walk the streets to the Venice Theatre, La Grange joins what her husband sees as a revolution. Her blatant sarcasm "perhaps you have mistaken me for a spaniel" when Mathers forbids her speaks of her dedication to interrupt the social narrative. Without La Grange's help in borrowing the piano, the performance could never have been carried out. In the representation of the higher classes' position, La Grange's character redefines social boundaries when performing politics of interruption.


Dissecting the intimacies of fear that hinder means to interrupt, Freire adds that it "threatens not only the oppressor but also their own oppressed comrades who are fearful of still greater repression" (47). When Olive Stanton stands out of the crowd to sing her line, some of the members join her while others do not. John Adair, for instance, leaves the scene with an eye of disdain. His position then holds similar to those of Tommy Crickshaw where they possess insufficient faith for art's power in changing the social discourse. Adair's refusal to play his part against union orders therefore rushes in his refusal to surmount social limitations in reality through art. In contrast, Aldo Silvano confronts his fear of losing his job and money the moment he walks out of his Fascism-infiltrated family. He sees the power in art to interrupt as he joins Stanton in the audience. It is the beginning of one voice that sparked off others, and one by one, the musical is performed. Every member who stood up in the audience had faith in their performance to redefine this pro-union musical. Combined with Constance La Grange's effort in acquiring the piano, their collectiveness gave rise to the form of power needed to conquer the fear of becoming either the oppressor or oppressed.


“The plays are written, they are here forever."


In response to the statement above, Flanagan replies "I hope they are," concluding her grief in putting an end to Federal theatre amidst her reverence in sustaining theatre as a mix of political voice. Federal theatre is going to end, but "theaters are going to be better off."  As long as critical consciousness is evoked, ideas to strive for liberation can remain ineffaceable. Though Flanagan was not able to interrupt Chairman Dies's anti-communism narrative, she has launched a " grand and glorious ship" to art and theatre's role in acting on a social and political opinion. There is no end to The Cradle Will Rock the moment the film closes up to Silvano's children applauding in the audience. The musical rallies a succession of critical thought as they perform Freire's critical pedagogy through their performance. Not only Silvano's children are now able to envision a world beyond constructed Fascism, we as audiences of Cradle Will Rock can also learn from the resistance history presented to us in convergence of multiple narratives. Reality is a process, instead of a static entity (Freire 92). Hence when art and theatre utilize methods of interruption, they voice a collective demand that only guides the never-ending process somewhere closer to the track. In a continuum of consciousness from the singular 'I' to plural 'we', poetics and politics of interruption resolves the very first step to perform a new social reality. Looking around critically in both the society's vicinity and afar, there are only more narratives waiting to be heard out.