|
|
Saturday, September 11th, 2010
So a few weeks ago I had an idea for the beginning of a story... I've been working on it for a little while and am still not totally sure where it's going; if any of you would like to take a look at it and tell me your thoughts about it, I'd be glad to have your feedback on where to go with it. I'm not sure what it means that I am revising and reworking this piece more heavily than I have worked with any other writing I've done that I can think of, besides maybe the review of Death with Interruptions; this is already the third or fourth revision of the story's beginning. The story is going to be called "Silent Rain" -- I'm trying to capture the psychological/linguistic conditions and sensations created by absence and by the perception of absence. Comments welcome.
posted morning of September 11th, 2010: 3 responses
➳ More posts about Writing Projects
|  |
|
Jorge López has been posting a lot of beautiful photography lately. Take a look at his latest: "I'm writing you this card..."
posted morning of September 11th, 2010: Respond
➳ More posts about Pretty Pictures
|  |
Friday, September 10th, 2010
There’s a thin line between what you are and what you aren't.
I'm afraid of loving you, and you're afraid I can't.
I’m falling now, I’m falling.
I’m falling now, I'm falling.
Take it away. Robyn Hitchcock, "I'm Falling"
|
Nearly every line of Altazor that I have read so far is just screaming for me to quote it -- I am going to go ahead and lay out some blocks of quotation; my idea here is to be doing a parallel translation of the poem (based loosely on Eliot Weinberger's) and (in the other direction, at the same time) of my own writing. Here is a section that immediately follows the speech by God that I quoted in the previous post -- a second great soliloquy, this time by Altazor (and/or by the author, there is a great deal of confusion between his voice and his character's): | |
Con casi cada uno de los lÃneas que yo acabo de leer del poema Altazor, sentÃa el deseo de citarlo, repetirlo, traducirlo. Adelante, voy poner unos palabras citadas; tengo aquà la idea de traducir simultaneamente el poema (siguiendo vagamente la traducción de Eliot Weinberger) y mi propia escritura. Con esto, una pasaje que sigue directo el discurso de Dios citado en mi post anterior: es un segundo grande soliloquio, por Altazor mismo (o quizás por el autor, hay una gran confusión entre los dos).
|
↷read the rest...
posted evening of September 10th, 2010: 7 responses
➳ More posts about Altazor: The Journey by Parachute
|  |
Thursday, September 9th, 2010
Currently pretty involved with two books, both of which I can't figure out quite where to start writing about... I'm having a lot of immediate reactions to what I'm reading but nothing developing into a good blog post. Gunfighter Nation: the myth of the frontier in 20th-Century America is a really eloquent historical analysis by Richard Slotkin, whose Regeneration through Violence I was reading previously and not writing much about either. A lot of fascinating, chilling quotations from Theodore Roosevelt and Buffalo Bill and so forth, a sort of self-styled macho elite. Altazor: o el viaje en paracaídas is a book-length poem about falling into space. Much that I'm not sure what to make of, plus some belly laughs and fun imagery. I got interested in this poem when I saw it mentioned in the movie Dictadura. I'm reading Eliot Weinberger's parallel translation, and finding it very helpful (but am going to massage slightly below). You can read the Spanish online at the Universidad de Chile's Vicente Huidobro page. Check out this speech by God, from the preface*:
Then I heard the voice of the Creator, who is nameless, who is a simple hollow in space, lonely, umbilical. "I made a great noise and this noise was the ocean and the waves of the ocean. "This noise will be stuck to the waves of the ocean forever, and the waves of the ocean will be stuck to it forever, like stamps onto postcards. "Afterwards, I braided a great cord of luminous rays to stitch each day to the next: the days, with their dawns either authentic or synthetic, but undeniable. "Afterwards, I etched geography on the land, lines onto the hand. "Then I drank a little cognac -- for purposes of hydrography. "And I created the mouth and the lips of the mouth, to imprison ambiguous smiles; and the teeth of the mouth to keep watch on the absurdities that enter our mouths. "I created the tongue of the mouth, the tongue which man tore from her proper role, making her learn to speak... She, she, the gorgeous bather, torn forever from her proper role, aquatic, purely sensual." Huidobro is a very interesting cat, I'm tempted to call this work surrealistic though I don't rightly know how closely he worked with that school... The wikipædia article indicates that his school was Creationism, but also that he was the sole member of that movement. Picasso drew his portrait and Arp shot a great photo of him. There is a great reading of the first Canto up at Google videos, with subtitles.
 * (Which I would put in the same class of greatness as the preface to Also Sprach Zarathustra)
posted evening of September 9th, 2010: 2 responses
➳ More posts about Regeneration through violence
| |
Wednesday, September 8th, 2010
At Pink Tentacle, a plethora of Japanese posters from the 1800's with public health themes. Above is a sign from the 1860's by Utagawa Yoshimori, showing what foods can safely be eaten by a measles patient. (Thanks for the link, SEK.)
 (And cool, I just found out that the genre of woodcut printing of which these are examples is called ukiyo-e, which translates as "Pictures of the Floating World".)
posted evening of September 8th, 2010: Respond
| |
Tuesday, September 7th, 2010
 Coming the last week of September, a movie of Howl -- the trailer looks very promising. And available right now, a graphic novel of the poem, by Eric Drooker -- Drooker worked on an animated sequence for the film, and had previously collaborated with Ginsberg on the book Illuminated Poems.
posted evening of September 7th, 2010: Respond
➳ More posts about Readings
| |
Monday, September 6th, 2010
John and I have our first track playing on the radio! Tune in to Henry Musikar's always-great music rotation at KCUF and you will (every so often) hear our cover of Gillian Welch's "Revelator." Here is the track if you don't want to wait:
posted afternoon of September 6th, 2010: Respond
➳ More posts about Jamming with friends
|  |
Sunday, September 5th, 2010
53 years ago, on September 5th, 1957, Jack Kerouac published On the Road -- by the time I came along to get my bit of inspiration from it, the book had become a key piece of history and of national consciousness already; imagine what a thing it must have been in 1957! Here is Jack on the Steve Allen Show in 1959, answering some questions, speaking about Dean, reading the final paragraph of his book:
posted afternoon of September 5th, 2010: 2 responses
|  |
 Armaments in Alexandria
posted morning of September 5th, 2010: Respond
➳ More posts about the Family Album
| |
Tuesday, August 31st, 2010
Fini Straubinger:
Saramago (in Pontiero's translation):The blind man had categorically stated that he could see, if you'll excuse that verb again, a thick, uniform white color, as if he had plunged his eyes into a milky sea. A white amaurosis, apart from being etymologically a contradiction, would also be a neurological possibility, since the brain, which would be unable to perceive the images, forms, and colors of reality, would likewise be incapable, in a manner of speaking, of being covered in white, a continuous white, like a white painting without tonalities, the colors, forms and images which reality itself might present to someone with normal vision, however difficult it may be to speak, with any accuracy, of normal vision.
Borges (and guess how excited I am to find the Seven Nights lectures online! At least one of them...):
 ...People picture the blind man enclosed in a world of black. There is a verse of Shakespeare's which would justify this impression: Looking on darkness which the blind do see; if we understand "darkness" to mean "black," this verse of Shakespeare's is mistaken.
One of the colors which the blind (in any case this blind man) are strangers to is black; another is red. "Le rouge et le noir" are colors we miss. For me, who was used to sleeping in total darkness, it was a great deal of trouble trying to sleep in this world of fog, a greenish fog or blue, vaguely luminous, which is the world of blindness.
↻...done
posted evening of August 31st, 2010: Respond
➳ More posts about Land of Silence and Darkness
| Previous posts
Archives  | |
|
Drop me a line! or, sign my Guestbook.
•
Check out Ellen's writing at Patch.com.
| |
