Archive for October, 2017

One Man’s César Vallejo | Open Letters Monthly – an Arts and Literature Review

I lose contact with the sea
when the waters come to me.

Let us always depart. Let us savor
the stupendous song, the song expressed
by the lower lips of desire.

– César Vallejo

“Vallejo is a difficult poet to quote briefly because he writes with a kind of stutter: his thoughts are constantly breaking off, catching up with themselves late, contradicting. He demands the whole space of a poem to pull off his best effects. Those unable to read the second line of a poem without fully coming to terms with the first will have little truck with Vallejo. But this casual, idiosyncratic, endlessly creative course of expression is his innovation and his legacy.

Although a number of poets are translating or have translated all of Vallejo’s poetry into English, Clayton Eshleman is the first to have published the entirety of his work in a single volume. It’s no book for the squeamish. Vallejo is a violent writer in every sense. Thwarted and inherited loves, inspiring patriotism, a resentful standoff with God, the dream of perfect socialism, and a loving, brutal fuck with language lace his poems like loaded coils.” – John Cotter, from César Vallejo: The Complete Poetry, Edited and Translated by Clayton Eshleman

Source: One Man’s César Vallejo | Open Letters Monthly – an Arts and Literature Review

This posting is inspired by the following discovered at “Questa notte scendo da cavallo.. – César Vallejo at Vengodalmare

Jack O’Lanterns at MUTTS – October 30 2017, Daily Comic Strip

Source: October 30 2017, Daily Comic Strip

Haiku Poetics by Donna Fleischer at The Operating System

haiku poetics

no time for steaming

eat it raw

 

– Donna Fleischer
The Operating System

Source: The Operating System

Time Intensive | FOP

bask in the light

and open medium

of time.

-from The Mastheads, 10.13.002107

Source: Time Intensive | FOP

Stuck In The Gap by Paul Conneally | Burn The Water

 

stuck in the gap
between my front teeth
summer’s end

Little Onion
September 2017

Little Onion is haiku poet, artist and cultural forager Paul Conneally
For workshops and commissions contact Love & Barley

Source: Stuck In The Gap | Burn The Water

Marshall Crenshaw – Whenever You’re On My Mind (HQ) – YouTube

The Politics of Adversity in Pope.L’s Flint Water Project

Installation view of “Flint Water” (2017), What Pipeline, Detroit

Flint Water Project politicizes the readymade, positing the bottles as symbols of gross negligence and misconduct on the part of city and state officials, and the dire consequences.

Source: The Politics of Adversity in Pope.L’s Flint Water Project

Radioactive Art in Fukushima | “Don’t Follow the Wind” – YouTube

Trevor Paglen :::: WORK :: FUKUSHIMA

Trinity Cube
Irradiated Glass from Fukushima Exclusion Zone, Trinitite
20x20x20cm
2015

 

Source: Trevor Paglen :::: WORK :: FUKUSHIMA

On Alejandra Pizarnik’s poetry – The Volatile I by Johannes Göransson | Boston Review

THE HEART OF WHAT DOES EXIST

do not hand me over,

oh saddest of midnights,

to the impure whiteness of noon.

– Alejandra Pizarnik
from Works and Nights (1965)

LOVERS

a flower

not far from the night

my mute body

opens

to the dew and its fragile urgency

– Alejandra Pizarnik
from Works and Nights (1965)

 

VERTIGO, OR A CONTEMPLATION
OF THINGS THAT COME TO AN END

This lilac unlaces.

It falls from itself

and hides its ancient shadow.

I will die of such things.

– Alejandra Pizarnik
from Extracting the Stone of Madness (1968)

 

DEAF LANTERN

The absent figures are sighing and the night is thick. The night is

the color of the eyelids of the dead.

All night long I make the night. All night long I write. Word by word

I am writing the night.

– Alejandra Pizarnik
from Extracting the Stone of Madness (1968)

Translations by Yvette Siegert

In ecstatic states, it may not be clear whether we are in paradise or hell, whether the song is happy or sad. This is the experience Pizarnik describes even as she propels herself into its drunkenness, creating a saturated atmosphere that is, as Negroni puts it, the “antidote to transcendence.” Or it might be a kind of anti-transcendence, found precisely in the negation of transcendence, the refusal to elevate poetry into “concept.” Her poetry feels like a constant, intensive refusal that generates its own Gothic beauty and black light: “imminence without a recipient. I see the melody.”

Alejandra Pizarnik’s poetry finally gets the English translation it deserves.

Source: The Volatile I | Boston Review

~ to share with Marina