Archive for July, 2022

flowerville: deborah levy

Sunday, 10 October 2021

I supposed that what I most value are real human relations and imagination. It is possible we cannot have one without the other. It took me a long time to discard the desire to please those who do not have my best interests at heart and who cannot live warmly with me. I own the books that I have written and bequeath the royalties to my daughters. In this sense, my books are my real estate. They are not private property. There are no fierce dogs or security guards at the gate and there are no signs forbidding anyone to dive, splash, kiss, fail, feel fury or fear or be tender or tearful, to fall in love with the wrong person, go mad, become famous or play on the grass.

Deborah Levy – Real Estate 

Source: flowerville: deborah levy

Unless stated otherwise all material & photos copyright of flowerville

flowerville: Paterson


Before the grass is out the people are out

and bare twigs still whip the wind—
when there is nothing, in the pause between
snow and grass in the parks and at the street ends
—Say it, no ideas but in things—
nothing but the blank faces of the houses
and cylindrical trees
bent, forked by preconception and accident
split, furrowed, creased, mottled, stained
secret—into the body of the light—

These are the ideas, savage and tender
somewhat of the music, et cetera
of Paterson, that great philosopher—

From above, higher than the spires, higher
even than the office towers, from oozy fields
abandoned to grey beds of dead grass
black sumac, withered weed stalks
mud and thickets cluttered with dead leaves—
the river comes pouring in above the city
and crashes from the edge of the gorge
in a recoil of spray and rainbow mists—
—Say it, no ideas but in things—
and factories crystallized from its force,
like ice from spray upon the chimney rocks

. . . . . .

Say it! No ideas but in things. Mr.
Paterson has gone away
to rest and write. Inside the bus one sees
his thoughts sitting and standing. His thoughts
alight and scatter—

Who are these people (how complex
this mathematic) among whom I see myself
in the regularly ordered plateglass of
his thoughts, glimmering before shoes and bicycles—?
They walk incommunicado, the
equation is beyond solution, yet
its sense is clear—that they may live
his thought is listed in the Telephone
and there’s young Alex Shorn
whose dad the boot-black bought a house
and painted it inside
with seascapes of a pale green monochrome—
the infant Dionysus springing from
Apollo’s arm—the floors oakgrained in
Balkan fashion—Hermes’ nose, the body
of a gourmand, the lips of Cupid, the eyes
the black eyes of Venus’ sister—

But who! who are these people? It is
his flesh making the traffic, cranking the car
buying the meat—
Defeated in achieving the solution they
fall back among cheap pictures, furniture
filled silk, cardboard shoes, bad dentistry
windows that will not open, poisonous gin
scurvy, toothache—

. . . . . .

But never, in despair and anxiety
forget to drive wit in, in till it
discover that his thoughts are decorous and simple
and never forget that though his thoughts are decorous
and simple, the despair and anxiety

the grace and detail of
a dynamo—

Divine thought! Jacob fell backwards off the press
and broke his spine. What pathos, what mercy
of nurses (who keep birthday books)
and doctors who can’t speak proper english—
is here correctly on a spotless bed
painless to the Nth power—the two legs
perfect without movement or sensation

Twice a month Paterson receives letters
from the Pope, his works are translated
into French, the clerks in the post office
ungum the rare stamps from his packages
and steal them for their children’s albums

So in his high decorum he is wise

. . . . . .

What wind and sun of children stamping the snow
stamping the snow and screaming drunkenly
The actual, florid detail of cheap carpet
amazingly upon the floor and paid for
as no portrait ever was—Canary singing
and geraniums in tin cans spreading their leaves
reflecting red upon the frost—
They are the divisions and imbalances
of his whole concept, made small by pity
and desire, they are—no ideas beside the facts—

William Carlos Williams

Source: flowerville: Paterson

Unless stated otherwise all material & photos copyright of flowerville

坂本 龍一 Ryuichi Sakamoto Full Album 2021 – 坂本 龍一 Ryuichi Sakamoto Best Of

A Longhouse Birdhouse: KENT JOHNSON — AFTER HORACE

Source: A Longhouse Birdhouse: KENT JOHNSON — AFTER HORACE

85. Meine Anthologie 19: Anneliese Hager, Nebel – Lyrikzeitung & Poetry News


Nebel ist blaue Sprache
vom Meer an einsame Ufer gespült
Schritte sind fremdes Laub –
Kette am gleitenden Fuß.

Nichts ist mehr nah –
aus fernen Gewässern
steigen Gesichte
Fetzen aus Dunst
milchige Streifen
scheuchen die Nacht und fallen
zurück in den Schlamm.

Stunden fliehen
über den eigenen Kreis.

Fremde Schiffe – tote Zeichen
im verbrannten Nebel –
Leuchtspur unter schwarzem Himmel.


Aus: Anneliese Hager: Die rote Uhr und andere Dichtungen. Hg. von Rita Bischof und Elisabeth Lenk. Zürich: Arche Verlag, 1991, S. 64.

Source: 85. Meine Anthologie 19: Anneliese Hager, Nebel – Lyrikzeitung & Poetry News

85. My anthology 19: Anneliese Hager, Nebel – Poetry Newspaper & Poetry News


Fog is blue language Washed up
by the sea on lonely shores
Footsteps are strange foliage –
chain on the gliding foot.

Nothing is near anymore –
from distant waters
rise faces
scraps of haze
milky streaks
shoo the night and fall
back into the mud.

Hours flee
over their own circle.

Strange ships – dead signs
in the burnt fog –
tracer under a black sky.


From: Anneliese Hager: The red clock and other seals. Edited by Rita Bischof and Elisabeth Lenk. Zurich: Arche Verlag, 1991, p. 64.

Source: 85. My anthology 19: Anneliese Hager, Nebel – Poetry Newspaper & Poetry News

Verlyn Klinkenborg on Writing More Clearly ‹ Literary Hub

The following first appeared in Lit Hub’s The Craft of Writing newsletter—sign up here. Here, in short, is what I want to tell you. Know what each sentence says, What it doesn’t say, And what…

Source: Verlyn Klinkenborg on Writing More Clearly ‹ Literary Hub

Perceptions – 3 Quarks Daily

Anneliese Hager. Untitled. ca. 1940-1950 Photogram.

More here. Source: Perceptions – 3 Quarks Daily

Exhibitions, White Shadows: Anneliese Hager and the Camera-less Photograph | Harvard Art Museums

Untitled (Portrait A. H.)

Harvard Art Museums

Source: Exhibitions, White Shadows: Anneliese Hager and the Camera-less Photograph | Harvard Art Museums

On Anneliese Hager–An Interview with the Artist’s Daughter Waltrud Kupsch on Vimeo