|
|
Saturday, July 21st, 2012
por J Osner
(las que lea con disculpas a Roberto Bolaño: directed freewrite based on some references to rain in La universidad desconocida)
Mientras llueve sobre la extraña carretera
En donde te encuentras
Estoy
Créeme que estoy
En el centro de mi habitación esperando
Que llueva. Está lloviendo:
Corriendo las aguas sobre
Los huecos vitreos, ventanas
Deslizandose
Mis mejillas abajo
Y otras partes
Menos delicadas.
Creo
Creo
Tengo miedo
Créeme que tus huellas tan mojadas
Salpicando
Pulsan inquietante
(And fade.)
posted evening of July 21st, 2012: 1 response
➳ More posts about The Unknown University
|  |
|
...Not sure quite how many times of looking in passing at the cover of La universidad desconocida it took me, before it clicked what the picture I am looking at is... For more Bolaño/Duchamp pairing, check out part 2 of Savage Detectives.
Loving the poems certainly. I need to read them more closely and repeatedly before I will have anything worthwhile to write about them though.
posted morning of July 21st, 2012: Respond
➳ More posts about Roberto Bolaño
|  |
Wednesday, July 18th, 2012
'Unnecessary complication? I don't think so. An expansion. Like breathing. Breathe in, breathe out. Expand, contract. The rhythm of life. You have it in you to be a fuller person, Paul, larger and more expansive, but you won't allow it. I urge you: don't cut short these thought-trains of yours. Follow them through to their end. Your thoughts and your feelings. Follow them through and you will grow with them. What was it that the American poet fellow said? There weaves always a fictive covering from something to something. My memory is going. I become vaguer with each passing day. A pity. Hence this little lesson I am trying to teach you. He finds her by the riverside, sitting on a bench, clustered around by ducks that she seems to be feeding – it may be simple, as an account, its simplicity may even beguile one, but it is not good enough. It does not bring me to life. Bringing me to life may not be important to you, but it has the drawback of not bringing you to life either. Or the ducks, for that matter, if you prefer not to have me at the centre of the picture. Bring these humble ducks to life and they will bring you to life, I promise. Bring Marijana to life, if it must be Marijana, and she will bring you to life. It is as elementary as that. But please, as a favour to me, please stop dithering. I do not know how much longer I can support my present mode of existence.'
Slow Man is a much, much weirder book than Elizabeth Costello. I found it just spell-binding to watch the growth of intimacy between her and her character, after her shocking introduction midway through. The first half of the book had a couple of faults I thought in terms of pacing and tone; but they were more than made up for by the latter half. Indeed the second half made those missteps part of the story.Coetzee's books about Costello are as much about the craft of writing, I think, as about anything else. Here Costello, midway through a story that is threatening not to go anywhere interesting, inserts herself into the story's reality and tries to involve her characters in creating themselves and their stories; she is not ultimately successful*, she cannot woo Paul out of his shell, the story of his recuperation will just be the story of him living out his days, slow, uneventful. It makes for about as weird a bit of metafiction as I can imagine, and a fascinating read.
 *(And it occurs to me here that what I said about Goldberg: Variations absolutely does not apply to this book.)
posted evening of July 18th, 2012: Respond
➳ More posts about Slow Man
| |
Monday, July 16th, 2012
‘Answer me, Paul. Say something.’ It is like a sea beating against his skull. Indeed, for all he knows he could already be lost overboard, tugged to and fro by the currents of the deep. The slap of water that will in time strip his bones of the last sliver of flesh. Pearls of his eyes; coral of his bones.
Elizabeth Costello is my hero for the way she transforms Slow Man with her entrance. That is all I have to say about it right now because I just read that bit not two hours ago, still no idea quite where Coetzee is headed with this, but that chapter was an absolute masterpiece, a revelation. (Thanks Jorge for the recommendation -- it is a good first sentence.)
posted evening of July 16th, 2012: Respond
➳ More posts about J.M. Coetzee
|  |
Sunday, July 15th, 2012
Caminante, son tus huellas
el camino, y nada más;
caminante, no hay camino,
se hace camino al andar.
Al andar se hace camino,
y al volver la vista atrás
se ve la senda que nunca
se ha de volver a pisar.
Caminante, no hay camino,
sino estelas en la mar.
Wanderer, these your steps
Make up the path, and nothing more;
Wanderer, there is no path:
You make the path by walking.
By walking you make the path,
And turning back your gaze you see
The wilderness you'll never cross again.
Wanderer, there is no path:
Just wake upon the sea.
Antonio Machado:
"Proverbios y cantares" #29 A-and omg, be sure to cf. the 8th Lesson of the maestro de Tarca. Thanks Leilani for the lovely restatement of Machado's classic line. Se hace el lenguaje al hablar.
posted afternoon of July 15th, 2012: 4 responses
➳ More posts about Language
|  |
Saturday, July 14th, 2012
Strange -- the first impression I am getting from Aaron Bady's essay on GarcÃa Márquez
(well besides noting his really extraordinary observation about Von Humboldt’s Personal Narrative) (and well, besides the insistent impulse that it be linked to in the same breath as to Juan Gabriel Vásquez' essay on literary influence and misunderstandings) is that it ought to be rendered in Spanish, that it could make really pleasant reading in Spanish. Some initial fumblings below the fold.
 El otoño del patriarca: olvidar vivir por Aaron Bady
Cuando los crÃticos intentan explanar el génesis del Cien años de soledad (que es él mismo un tipo Génesis), encontramos en general dos modos fáciles de acceso: el joven Gabo transcribe los cuentos fabulosos de la abuela, asà concibe en los orÃgenes modestos de la cultura colombiana, un modernismo del Realismo Mágico. O también, hay la Revolución Faulkneriana y su relato, que Pascale Casanova y sus discÃpulos proponen: acá demuestra el William Faulkner un modo particular de ser escritor en lugar periférico; y asà ha el GarcÃa Márquez aprendido a ser colombiano por leer el Mississippi , se ha juntado al Modernismo a través de imitar los Modernistas quienes lo precedÃan. Y también podrÃamos adjuntar a esos el relato de GarcÃa Márquez el periodista , y muchos otros también.
ENTREVISTADOR: Ya que discutabamos el periodismo, ¿cómo se siente ser de nuevo periodista, después de tan largo tiempo como novelista? ¿Le hace usted con otra sensibilidad o con otra visión? GARCÃA MÃRQUEZ: Siempre he estado convencido de que mi profesión verdadera es periodista...
A mi me parece el segundo volumen de la Narración personal de viajes a los regiones equinocciales, durante los años 1799 a 1804 de Alexander Von Humbolt el punto perfecto de partida: el explorador y cientÃfico distinguido se sorprendió, mientras viajaba en la selva venezolana y eludÃa los tigres y anguilas eléctricas, en encontrar a un Ben Franklin selvático:
We found at Calabozo, in the midst of the Llanos, an electrical machine with large plates, electrophori, batteries, electrometers; an apparatus nearly as complete as our first scientific men in Europe possess. All these articles had not been purchased in the United States; they were the work of a man who had never seen any instrument,who had no person to consult, and who was acquainted with the phenomena of electricity only by reading the treatise of De Lafond,and Franklin’s Memoirs.
Senor Carlos del Pozo, the name of this enlightened and ingenious man, had begun to make cylindrical electrical machines, by employing large glass jars, after having cut off the necks. It was only within a few years he had been able to procure, by way of Philadelphia, two plates, to construct a plate machine, and to obtain more considerable effects. It is easy to judge what difficulties Senor Pozo had to encounter, since the first works upon electricity had fallen into his hands, and that he had the courage to resolve to procure himself, by his own industry, all that he had seen described in his books. Till now he had enjoyed only the astonishment and admiration produced by his experiments on persons destitute of all information, and who had never quitted the solitude of the Llanos; our abode at Calabozo gave him a satisfaction altogether new.
It may be supposed that he set some value on the opinions of two travelers who could compare his apparatus with those constructed in Europe. I had brought with me electrometers mounted with straw, pith-balls, and gold-leaf; also a small Leyden jar which could be charged by friction according to the method of Ingenhousz,and which served for my physiological experiments. Senor del Pozo could not contain his joy on seeing for the first time instruments which he had not made, yet which appeared to be copied from his own. We also showed him the effect of the contact of heterogeneous metals on the nerves of frogs. The name of Galvani and Volta had not previously been heard in those vast solitudes.
Tal vez conocen ya bueno éso los expositores GarcÃa Márquezianos en español (tal vez me parezco al señor Pozo cuando inventaba de nuevo la rueda desde la periferia): no encuentro en el crÃtico inglés a ninguna referencia en este pasaje. Los paralelismos entre José Arcadio BuendÃa y el señor Carlos del Pozo son impresionantes, y impresionante es que ambos escritores llamen a la aspiración frustrada para estar a la vanguardia del descubrimiento cientÃfico como «soledad». Cien años de soledad en un momento incluso se quita el sombrero a Von Humbolt, cuando el MelquÃades senil vuelve repetidas veces en sus monólogos confusos al nombre del explorador del siglo XIX y también a la palabra «equinoccio», que es tropo Humboltiano.
↻...done
posted evening of July 14th, 2012: 1 response
➳ More posts about Translation
| |
Thursday, July 12th, 2012
I haven't really written much narrative (that I can recall) in the first person voice. Let's give this a try. Peter seems like a good place to start with the first person, being as he is at least roughly modeled after myself. (The plan as it now stands is, write fragments as they come to me. Revise and post at READIN those that seem worth while. Wait and see, see if anything is coming together. And if not, well, I'm having fun with the fragments and the revisions...)
 I found Fragmentos de la universidad desconocida when me and Laura were visiting Mexico City. What a poorly-planned trip! We had both just fallen in love with The Savage Detectives -- the idea came up on the spur of the moment, that we should make the trip as, well, an homage to Bolaño or something like that, something along those lines... didn't really bother to do much or any research though I guess, I guess we were both pretty busy with work around that time, felt lucky we could both take a week off and have it be the same week, and by the time we had gotten off the plane and stumbled to our hotel and stumbled out of the hotel, down the street, it was Day 1 and we were standing in the Plaza de la Constitución, rubbing our eyes, pawing at the map, trying to figure out how to get to the Calle Bucareli, and it was beginning to dawn on me that there were way better things we could be doing with our week than trying to retrace the footsteps of Leopold Bloom around Dublin.
It wound up being a good week, too -- we did not actually find our way to any of GarcÃa Madero's bars, but we did visit a couple of his bookshops, and the Bosque de Chapultepec, and Trotsky's house. Ate well. When we came home my suitcase was stuffed with books.
I've been a sucker for Spanish poetry ever since college -- the professor had us reading Neruda and Cardenal, and then I found an old book of Pablo Antonio Cuadra, and I was hooked. Something about the foreignness of it, the unfamiliarity of the language (well and of course the specific lilt and rhythm of Spanish) makes it touch me, ring clear in a way that only rarely happens with English language poetry. But Bolaño! I had no idea he had written any poetry. (I know -- it sounds dumb now, just a few years later on; for me he was just the author of The Savage Detectives, like how I didn't know anything about Kerouac beyond On the Road, for what seems like an inordinately long time past my tenth-grade year.) But, but there it was on the bookshelf, right in front of me in LibrerÃa Sotano: The fragments of the unknown university. What a title! Seeing it felt like a revelation. I know, I know, the structurally correct thing would have been for me to steal it... The cashier gave me a Sotano bookmark, I was meaning to hang on to it but no idea where it has gone.
That was our last day in Mexico.
↻...done
posted evening of July 12th, 2012: 11 responses
➳ More posts about This Silent House
|  |
Monday, July 9th, 2012
There is another variant of the Bartleby syndrome which I have not seen yet in Vila-Matas' enumeration -- one which seems to me like it must be pretty well-represented in the history of letters: writing the wrong book. Two, and possibly three characters in the story I am writing (and it goes without saying, possibly this applies to myself as well) spend their lives working hard on the wrong book.* They are not exactly emulating Bartleby -- they are after all striving to create, to produce -- but in terms of actual output it comes to very much the same thing.
Maximiliano Josner Ãvala is a gifted poet, one who, however, never pursues poetry; he believes his calling is to theology and to metaphysics, and he works all his life writing a manuscript which will never be published. He leaves behind him thousands of pages, but his only publication is his thesis on the traditions and institutions of the indigenous tribes of Peru.
Ãvala's young disciple Miguel Arroncoyo de Matoa is manically devoted to his teacher's philosophical work, and is too shallow of a thinker to really see the holes in it. He is also a seeker after fame, one who is bound to be disappointed; his dream is to use Ãvala's manuscript as a stepping-stone to his own success in the field. He publishes some fragments of poetry from Ãvala's journals with his own commentary, as a way of preparing the ground for what he considers the more important work, and then spends the remaining decades of his life attempting unsuccessfully to tame the monster manuscript. The volume of poetry does not make much of an impression, and is pretty well forgotten by the time Bolaño finds a copy of it in the university library in Santiago.
Bolaño includes some references to Ãvala in the poems in La universidad desconocida, which is how Peter Conlay, a young man in upstate New York, catches wind of his existence. He finds a copy of Finidades on Abebooks and falls in love with Ãvala's voice. So the question becomes, can Peter's translations succeed in introducing this forgotten and foreign poet to the world? Or is he too working on the wrong book? I see Peter as having things in common with both Ãvala and de Matoa...
*And have I mentioned how it is tripping me out, that I picked up Bartleby y compañÃa just when I was starting to piece this story together?
posted evening of July 9th, 2012: Respond
➳ More posts about Bartleby y compañÃa
| |
Sunday, July 8th, 2012
...Why did I write? At the end of the day, the normal thing is to read. My accustomed answer was twofold: that firstly, my poetry consisted -- though I did not know this -- of attempts to invent a personality for myself. ...And furthermore, that it was based on an elementary confusion: I believed I wanted to be a poet, but essentially what I wanted to be was a poem.
-- Jaime Gil de Biedma
quoted in Bartleby y compañia
Mi intenta en decir «últimamente sobre nada» fuera igual que cuando yo decÃa antes, «escribir sobre escribir sobre»; la iteración se puede infinitamente reflejar: una reflexión de la realidad y de una realidad reflejado. Si los espejos el otro precisamente alinean, si la recurencia puede proceder sin fin, últimamente se produce el contrario exacto de la realidad descrita, asà precisamente nada. (Lo anterior es válido en doble en relación a «hablar sobre escribir sobre...»)
posted evening of July 8th, 2012: Respond
➳ More posts about Poetry
|  |
|
Welcome to visitors from Caravana de recuerdos -- I am glad to be observing Spanish Lit Month this July along with Richard and the rest. Reading Bartleby y compañÃa, watching CrÃa cuervos... And principally I seem to be using this Spanish Lit Month as an occasion to create some Spanish language poetry (and/or prose, hasn't really gelled into one or the other yet) of my own! Perhaps this will interest you, perhaps not -- this link will (loosely) track that project. For the time being, I'll be writing all or most of my posts going back and forth between English and a clumsy, stilted attempt at Spanish; hoping people will bear with me...
Some archival material that may interest you: Slavko Zupcic, The Art of Resurrection and Our Lady of the Dark Flowers both by Hernán Rivera Letelier, endless nattering about Borges... A poem I quite like from Unamuno, and some from Pablo Antonio Cuadra. A few fun Argentine stories.
posted afternoon of July 8th, 2012: 3 responses
| Previous posts about Readings
Archives  | |
|
Drop me a line! or, sign my Guestbook.
•
Check out Ellen's writing at Patch.com.
| |
