SOME BEHEADINGS / Route: Thicket

September 18, 2017 § Leave a comment

My new and first and only book of poems will be out in a few weeks, so I’m making a few recordings (some audio, some video) in . . . really just in excitement for the whole thing. Everyone involved in helping this book to be is lovely. Anyway, here’s a video I made for a sequence called “Route: Thicket”:

(Yes, it’s meant to look like that.)

Some sections from this appeared, in a slightly different form, in The Capilano Review 3.28. “I am my land, expressed” is a quotation from Edmond Jabès’s The Book of Questions: Volume I (trans. Rosmarie Waldrop). CJ Martin and Julia Drescher are responsible for getting me to think about the word “attention” through their journal ATTN:.

Oh, and, while this is probably eminently boring for many people, and possibly against some kinds of reading (which I totally get), if one cares to read, this scene from Bresson’s Au hasard Balthazar has lived in me for years and made its way into several poems, until, finally, this one: « Read the rest of this entry »

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Inspirations of Fashion

June 12, 2017 § Leave a comment

Donald Glover in Gucci Coat

Purushu Arie in Purushu Arie

Sharon Needles (Aaron Cody) in Man Drag

« Read the rest of this entry »

The Actor’s Face at Rest

April 21, 2017 § 1 Comment

It is never quite clear to me what the actor does.

What she does, when I discern something like doing, seems to hover between great style and great anonymity.

The style of some actors reveals itself in vocal and somatic stillness.

Others, through a clipped or frenzied movement.

In neither case do I receive the actor’s work as a full expression. Full as in the purported aptitude of form to enact (perfectly) a content. The notion that an actor might communicate with precision an inner sorrow, joy, or turmoil is to me absurd.

The silent and frenetic actors whom I enjoy never entirely convey their characters. There is too much that cannot be seen or heard. So the actor’s presence is a shape: a gravity, a sonority. Her personality resists novelization.

In this sense, style—or stylization—is a kind of anonymity. Actors of camp are virtually unrecognizable, as actors and as quotidian subjects.

I think that when style increases, anonymity increases also. But I also think that anonymity increases when style decreases. Anonymity always increases.

« Read the rest of this entry »

Foreword to Farid Tali’s PROSOPOPOEIA

April 4, 2017 § Leave a comment

Mortal, think: what’s under a charnel’s lid:
a worm-bitten corpse, bare of nerve and
bare of flesh, whose naked bones, undone
and stripped of pulp, their swivels quit:

here, out of putrefaction, falls a hand,
and there, turning inside out, the eyes
distill into phlegm, and varied muscles,
for gluttonous worms, become some grassy land:

the torn-up belly blaring with stink
infects the nearby air with a foul stench,
and the half-gnawed nose deforms the face;

Jean-Baptiste Chassignet (1594)

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This poem forewords Tali’s story of the death of a brother. The book describes the decomposition of the brother’s body upon death, and also its ruination by drug addiction and AIDS when alive. Chassignet’s baroque sonnet is thus very apt. Tali presents it incomplete—fragmented—as is the body, the narrative, elegy. You can read the entire poem, in French, here.

The translation of the poem is mine.

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You can buy this book from Action Books or SPD.

 

 

2016: Movies

January 19, 2017 § 2 Comments

In 2016, after years of staying away, I spent a lot of time in movie theaters. With a few exceptions, this meant I forced myself into public acts aloneness in the city of Denver, which is not conducive to such acts.

I liked this very much, though I still find it difficult to adjust to the popcorn-eating of fellow moviegoers. The world today might excuse/explain this trait of mine, which other eras would have called a quirk or bad manners, as something that makes me special. Give me a hug/death. But while I allow for the possibility that I’m really very brilliant for not being to stand the sound of popcorn-chomping, it’s really the smell that gets to me and, even more so, the disrespect. It doesn’t at all bother me that hordes of horrific food items might be publicly consumed at some blockbuster movie, but at Carol? Or Moonlight? Non-horrific foods and beverages, discreet foods, like bits of chocolate, I would not object to those.

Yes, I am an e l i t i s t. But the point of a dark room lit up on one wall seems to be the darkness and popcorn cuts through all that like the vilest fluorescent light.

Barry Jenkins. Moonlight. 2016.

Barry Jenkins. Moonlight. 2016.

Recent Movies I Loved That I Saw in Theaters

Todd Haynes. Carol. USA, 2015.

Barry Jenkins. Moonlight. USA, 2016.

Chaitanya Tamhane. Court. India, 2014.

Paul Verhoeven. Elle. France, 2016.

Old Movies I Loved That I Saw in Theaters

Satyajit Ray. Jalsaghar. India, 1958.

Michael Powell and Emeric Pressburger. Black Narcissus. UK, 1949. « Read the rest of this entry »

2016: Books

January 5, 2017 § 2 Comments

Bref, I read a lot of poetry translated from German and a lot of nonfiction translated from French. This is not very shocking. Much of my non-book reading happened at Asymptote: this reading (plus editing) is far more diverse and includes work by poets like Vicente Huidobro (Chile), Jan Dammu (Iraq), and writers who push at the limits of what translation means (the Special Feature in our January issue). One of my favorite pieces of this latter sort is Bronwyn Haslam’s anagrammatic translations of Nicole Brossard’s poetry (“Soft Links” becomes “Silk Fonts,” for example):

It’s nouns that gulp fire and life, one can’t tell if they’re Latin, French, Urdu, Veda, Cree, Mandarin, Aleut, Creole, Basque, English, secrete a number, deed, quorum, animal or accelerate old anxieties eddying before us in doubled somber contours full of luster and immense legends.

I also got to collaborate with my friend Michael Joseph Walsh to put together a different sort of experimental translation portfolio for Denver Quarterly 50.4 I have a few extra copies and would be happy to mail them to anyone interested (or you can subscribe). Joshua Ware’s visual translations of Celan appear as an online supplement to this portfolio here.

Photography by Gaëtan Gatian de Clérambault

Photographs by Gaëtan Gatian de Clérambault

For some years now I’ve been obsessed with a film by Yvon Marciano called Le cri de la soie (1996), which fictionalizes the life of pioneer psychiatrist Gaëtan Gatian de Clérambault. This year I read two texts relevant to this film, de Clérambault’s case studies of women who developed an unusual sexual “passion” for silk and other textiles: Passion érotique des étoffes chez la femme (1908) and its suite (1910). « Read the rest of this entry »

2016

December 31, 2016 § 2 Comments

11.01.16

Resolutions:
– speak less of other people
– watch more good cinema
– sleep well

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15.01.16

I found a poem I wrote on 06.04.09 called “A doctoral student confesses”—it is oddly prescient:

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19.01.16

“so sound would be plural like description is” (Giscome Road 52)

“Sentences find you, style finds you on the road out; it overtakes you effortlessly, it palavers” (69)

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28.01.16

“circumbabeled”
Celan/Joris (327)

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