Tamara Editorial room contains a list of the Tamara Board members. We are all toasting the
possibilities of the inaugural issue. Some of us have children.
In this Room, there is a brief chronology of key events that lead up to Tamara getting off the
ground.
You will also find an Editorial "A Mansion with Many Rooms" that tells a few stories to give some
historical context, and looks at our existential possibilities and our nothingness.
What would a rebellion be without a manifesto. You will find a Tamara Manifesto in this room. It
defines the terms in the title of the journal and gives you a sense of more possibilities.
We do reviews and we invite responses. There are two reviews of the Tamara Manifesto in this
Room by Tamara Board members. We will continue to invite responses to editorial commentary.
You are encouraged to write us with your own response.

The deployment of the word "predator," when used in connection with corporations, is imbued with considerable ideological baggage. More specifically, it is driven by a metaphorical imperative that serves to legitimate and "normalize" corporate activity.

This is a reply to an essay that John Krizanc sent to me. Krizanc (1989) is also the author of the Tamara play. I have applied Tamara to organizing (Boje, 1995). Here I want to look at some of the consequences of interactive organizing that is theorized as a postmodern narrative.

Producers and consumers meet in the narrative space we call 'organizing.' As Roland Barthes (1970) put it, “the goal of a literary work is to make the reader no longer a consumer but a producer of the text” (S/Z). In questioning the position of the narrative in relation to the producer and consumer of organizing, this essay challenges the role of consumer sovereignty that makes consumers the sole authors of organizing.

John Krizanc is the author of the Tamara Play, after which the journal is named. The interview explore the relationship between aesthetic and ethics, how the artist makes comprimises to get a project like Tamara to appeal to an audience more interested in entertainment spectacle than socioeconomic or political commentary.