lunedì 25 luglio 2016

D. A. Prigov - Sette nuovi racconti su Stalin


1. 
Un giorno durante l’infanzia, Stalin andò con un amico davanti a una macelleria. Stalin afferrò un pezzo di carne e scappò. Lo acchiapparono e gli chiesero: “Lo hai rubato tu?” “No, – rispose – è stato lui.” E l’amico allora venne fatto a pezzi. 



2.
La vita sta andando terribilmente male per il popolo. Si ribella. Gli zar chiamano Stalin e gli dicono: “Porta il popolo sulla Piazza del Senato.” Stalin condusse il popolo, lì c’erano dei gendarmi. Stalin cominciò a sparare, furono uccisi tutti. Più di un milione.


3.
Un giorno Trotskij, Zinov’ev e Bucharin andarono da Stalin e dissero: “Sei ingiusto. Lasciaci parlare.” Stalin prese la pistola dalla scrivania e gli sparò sul posto.
E ordinò di sotterrare subito i cadaveri.


4. 
Un giorno Stalin andò da Lenin a Gorkij. Vide che non c’era nessuno e uccise Lenin. E sotterrò il cadavere senza che nessuno se ne accorgesse. Ritornò a Mosca e disse: “Lenin è morto. Ha lasciato tutto a me.”


5.
Un giorno la moglie andò da Stalin e disse: “Perché hai sottratto tutti i soldi a quelle povere donne? Non è bene.” Stalin prese la pistola dalla scrivania e le sparò sul posto. E ordinò di sotterrare subito il cadavere.


6.
Un giorno Nikita Sergeevič Chruščёv andò da Stalin e disse: “Sei ingiusto. Lasciaci parlare.” Stalin prese la pistola dalla scrivania, ma Chruščёv fece in tempo a sparare per primo e a uccidere Stalin. E ordinò di sotterrare subito il cadavere. 


7.
Un giorno Stalin camminava per strada. La gente lo riconobbe e gridò: “Eccolo, Stalin!” Stalin si mise a correre, e la gente dietro di lui. Lo raggiunsero, lo fecero a pezzi, lo bruciarono e gettarono le sue ceneri nel fiume Moscova. 


*
da Dmitri Aleksandrovič Prigov, Napisannoe s 1975 po 1989 [Scritti dal 1975 al 1989], edizioni Novoe literaturnoe obozrenie, 1997


 Trad. g.r. 

giovedì 21 aprile 2016

D. A. Prigov - Secondo banale ragionamento sul tema: Essere famoso non è bello


Quando sei famoso
Essere famoso non è bello
Ma se non sei famoso
Allora essere famoso non è soltanto
Auspicabile, ma anche bello
Eppure la bellezza non è esito
Della tua possibile fama
Ma la fama è risultato
Della bellezza,  e la bellezza salverà!
Ma essere famoso, certamente, non è bello
Quando sei già famoso



*
da Dmitri Aleksandrovič Prigov, Napisannoe s 1975 po 1989 [Scritti dal 1975 al 1989], edizioni Novoe literaturnoe obozrenie, 1997

  
                                                                                                                                                                                                         Trad. g.r. 

martedì 26 gennaio 2016

l'oggetto assoluto (p. 46)


buon ultimo il nirvana. la ripresa costruita sul momento le varie articolazioni preparate prima perché tutto è previsto. abbastanza rapidamente protagonisti di questa scena: il ritiro commemorativo mollandone un tocco all'ultimo tratto - abbiamo deciso 1 minuto di deviazione. era, ricordo, esattamente la fine di mezzogiorno. ci sentivamo bene a comprimere in modo significativo il volume pieno di certe cose e di certe altre, nelle lacune della cassa si fa posto senza difficoltà, si scelgono con attenzione alcuni souvenir da una vacanza spensierata. L'AC Panzer S ama l'hardcore di A Item Ra Sun K - esiterà, ma ci sarà. 12:00 di purezza e pulizia del castello con ritratto preso in prestito dal laboratorio della speranza dove non viene scartato nulla e dove dopo una prima fase di oscurità ci ritrovammo buoni fratelli e un po' più anziani, con una foto in mano 12:01 ventilatore e rifornimento d'aria: stiamo lì, senza ricordare, in attesa del carburante. non c'era nemmeno un fiore. sospendere temporaneamente il rientro perché non c'è più speranza ma c'è N, questa soddisfatta, che avvia in automatico il tutto - delusi fosse stato il contrario - guardate giù la congestione, la ripresa generale la fatica tutta a nord. un bellmer terribilmente a modo si torce se colpito. si fa rifornimento nella pausa. candy è candidamente veloce. invitati a palazzo, siamo ridotti ai più. le influenze locali, il km 0, alcuni confessano il desiderio di scendere e leggere lo scaffale intero ardono di descrizioni alimentate da una bontà martellante parlano di bowie perché evidentemente interessa. 12:02 il trucco sta prendendo fuoco mentre coloro non possono pensare alle vedove senza commentare, l'applauso le scuoterà un po' prima di andare perché hanno sicuramente famiglia, tutte al vertice danno un paio di addii e a braccio avviano nuove evoluzioni, eye contact e fronte imperlata, sarà, ma noi puntiamo solo a dolci carezze




lunedì 21 dicembre 2015

Farset


Tentando di tornare a quel fiume, questo fiume che sto per esplorare, immagino o ricordo scrutando tra le sbarre di ferro arrugginito che coprivano un lato del vicolo dietro la scuola di St Gall in fondo a Waterville Street, con lo sguardo fisso in basso verso l’acqua scura ed esausta, le mie guance premute contro il ferro freddo. Sarà solo anni dopo che scoprirò il suo nome. Per ora lo comprendo con la noia assorta di un bambino. Fango. Acqua. Un pozzo senza fondo. Il telaio di un passeggino. Un materasso a molle arrugginito. Il fiume, il ruscello, la fognatura sgocciola da un’apertura scura e scompare dentro un buco nero. E’ questo che dà a Belfast il suo nome.

L’estrema oscurità e perplessità, tuttavia, partecipa alla derivazione del nome… il nome di Bealafarsad, che significa, secondo alcuni, città del guado della staccionata, mentre altri lo hanno tradotto, l’entrata dello stagno. Ciascuna di queste spiegazioni dovrebbe ottenere qualche conferma dai fatti locali, ma poiché è una questione di sole ipotesi, sembra esserci altro spazio per ulteriori speculazioni.

Così dice George Benn, scrivendo negli anni '20 dell’Ottocento. Dubourdieu, che scriveva qualche anno prima, afferma che probabilmente Belfast ha derivato il suo nome attuale da Bela Fearsad, che significa una città alla foce di un fiume, espressione delle circostanze, in cui si trova. La guida all’Irlanda del nord di Ward, Lock & Co., poco più di un secolo dopo, ha fornito un’altra versione: Mentre la campana nello stemma di Belfast è un flebile gioco di parole, la parola ‘fast’ si riferisce al ‘ fiume Farset’, o al banco di sabbia (o anche il fiume ora interrato in High Street). ‘Bel’ in Celtico significa ‘guado’, ovvero Bel- feirste, il ‘bel’ o ‘guado’ del ’farset’.


In tutta questa acquosa confusione una cosa sembra certa: che Belfast è una storpiatura dell’irlandese Béal Feirste. Béal è semplice. Significa un’imboccatura o la foce di un fiume; un’apertura; un accesso. L’informatore di Benn sembra averlo scambiato per baile, una città, giungendo così all’equivalente inglese del nome irlandese moderno di Dublino, Baile Átha Cliath, che significa precisamente città del guado della staccionata. Ma è nel significato di questo feirste che trova fondamento, questo genitivo di fearsad, la parola irlandese per…            

Il Rev. Dineen lo definisce come un’asta; un fuso; l’ulna del braccio; un bastone; il perno di un asse; un banco di sabbia nell’acqua bassa; un profondo e stretto canale su una spiaggia con la bassa marea; una fossa o una pozza d’acqua; una strofa, una poesia. Il dizionario di Edward O’Reilly e Thomas de Vere Conys è sostanzialmente concorde, sebbene O’Reilly contenga lo strano wallet, che compare anche nel dizionario gaelico scozzese di Duelly; e contiene il raffinato aggettivo fearsach, pieno di piccole creste sulla sabbia, una di quelle rivelazioni che si hanno nella bassa marea dell’alba, dove la terraferma sembra mimare le creste del mare: Ricordo di averlo visto proprio nella remota Gaeltacht di Rann na Feirste o Ranafast nella contea di Donegal. Per non parlare di Béal Feirste, o Belfarset in County Mayo, dove non sono mai stato. Ma prendiamo la via più semplice, e immaginiamo che fearsad sia un banco di sabbia, formato dalla confluenza tra il fiume da cui deriva quel nome – il Farset – e il fiume Lagan. Così Belfast è l’accesso al banco di sabbia, o la foce del Farset; o l’accesso al guado, poiché storicamente c’era un guado in quel punto, e la chiesa di St George in High Street, al di sotto della quale scorre il Farset, sorge ipoteticamente nell’area della Cappella vicino al guado. O supponiamo, con il dizionario gesuita inglese-irlandese di McCionnaith, che fearsad rappresenti l’asse, come nell’espressione, Bíonn an domhan ag casadh ar a fhearsaid féin, il mondo ruota intorno al proprio asse: questo viene immaginato, non come un’osservazione scientifica, ma come una reazione a qualche altro elaborato e banale aneddoto. E mio padre mi disse che le forze dell’Asse durante la Seconda Guerra Mondiale erano in verità conosciute come Lucht na Feirste, o il popolo dell’Asse (da non confondere con il popolo X dell’eponimo romanzo di fantascienza, inventato dall’ex corrispondente politico della BBC, W. D. Flackes). O in modo più fantasioso, potremmo prendere la poesia di Dineen e lasciare che Belfast sia la bocca della poesia – Farset è naturalmente connesso al latino volto nel solco, conosciuto come versus? E stranamente, per una cospirazione di storia, incidenti e geografia, il fiume Farset, questo ruscello nascosto, è tutte queste cose: è l’asse tra le opposte Catholic Falls Road e Protestant Shankill, lo seguiamo attraverso la vecchia Shankill Graveyard – ora un parco pubblico – finché non scompare sotto Shankill Road e riemerge in Bombay Street (bruciata durante i conflitti del ’68), scorre lungo il retro di Cupar Street, seguendo quasi esattamente il confine della Peace-Line, questo muro alto trenta piedi di ferro ondulato e graffitato, l’interfaccia, il termine, perso in quello che sopravvive della Venezia industriale di Belfast – poiché l’acqua, dopotutto, era energia – un labirinto di dighe, bacini, canali, sprofondamenti, ponti pedonali che ricordo nei miei sogni, costruito vicino agli stabilimenti Titanic, gocce di vapore penetrano a intermittenza attraverso la sabbia e lo smog, così sprofonda e riaffiora a Millfield e poi si perde nel suo canale definitivo sotto High Street. Ricorda un fuso, braccia, le canzoni delle ragazze lavoratrici. Non ricorda niente: nessuno entra nello stesso fiume due volte. O, come affermano alcuni spiritosi, nessuno entra nello stesso fiume una volta.


di Ciaran Carson, da Belfast Confetti (Wake Forest University Press - 1989)

traduzione di Giorgia Romagnoli                        

martedì 10 novembre 2015

ultra-abstraction in painting and drawing / Peter Ganick. 2015

UA is the taking-to-the-extreme of any of conventional abstraction’s principles.
the first aspect is that an UA picture will have no reference to any representational-reality and will, therefore, be totally non-representational as a totality though representational objects like color, language, form, variation, and all possible combinations of these aspects can be included.
it is not a parlor game, though it can have rules—all meant to be provisional and non-binding.
ultra-abstraction is not conceptual art—the art is in-the-object, not in-the-idea-of-the-object.
like all quality art, it must satisfy a certain visual quality i’ll call temporarily ‘having-character’.
this ‘having-character’ is a quality of the picture or the object primarily—how an artist’s personal development courses through his/her life UA is ‘considered’ and without doubt, has the most carefully planned importance.
this pre-planning is not from the beginning of the exemplar’s existence.
the best way to talk of this pre-planning is: choosing the parameters of the piece, namely the tools to be used—perhaps that would be enough.
if we’re talking of a painting, perhaps a palette to be used, a type of ground, a means to apply color, and any other means the artist deems important, for instance, some music to enhance creativity—anything to make the artist feel painterly.
compositional aspects are in ‘free-flow’—there is no ‘one [or many] true’ compositional form[s] that will be guaranteed to work successfully in the making of this art-form.
in some manner, UA, like the quality that makes any art-piece ‘of-quality’, cannot be taught.
unlike developing talent by ‘practice’, the sort of experimental aspect that comes into play in UA is more of a poetic, irrational quality.
‘free-flow’ in this case means, considering compositions as structures, any structure can be considered to have this ‘of-character’ quality, but how that is determined is of the utmost importance.
chaos is not UA, which has some intentional-inner-structure that is recognizable.
by ‘taking to the extreme’ and ‘poetic irrationality’ is meant the unplanned, accidental, surprise occurrence that can come up in a painting.]
these, most definitely, as not ‘errors’—rather are opportunities-for-changing-direction-in-the-painting’s-midstream, so to speak.
a simpler way would be to encourage on-the-spot-improvisation.
this is and has been all along the touch-stone of jazz-music.
one must be open to ’the moment’— in this case the pictorial/compositional moment.
so, throw away ideas of ‘balance’ as a sure-fire way to enhance a picture; but keep aware of color-values, so dark-medium and light work together in a new way.
what i mean when i wrote earlier of ‘poetic irrationality’ as a thought to have in-the-back-of-the-artist’s-mind when creating is probably the best way describe UA is free-flow composition with the spontaneous improvisational aspect of utmost importance—or—if it’s different that what’s been seen before, it is worth considering—not necessarily ‘of-character’ but worth considering.
the poet, ezra pound, told poets to ‘make it new’ while some wise people would say, ‘there’s nothing new under the sun’—  i do not claim to have an answer to the discussion but think it’s valuable to consider it.

venerdì 6 novembre 2015

chapter one of a repeating text / Peter Ganick. 2015

      
after a while. after a while. for what. for what. for what. for what. for what. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. after a while. after a while. for what. for what. and why. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. a while. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. for why. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. not to be read aloud. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. look and see why. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. did you see every phrase. again. again. again. again. again. again. again. again. again. again. again. again. again. again. again. again. again. again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again. these poems are the essence of again.  and why not.  and why not.  and why not.  and why not.  and why not.  and why not.    and why not.  and why not.  and why not.  and why not.  and why not.  and why not. do not count the repetitions.  do not count the repetitions.  do not count the repetitions.  or not.  or not.  or not.  or not.  or not.  or not.  or not.  or not.  or not.  or not.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied.  punctuation is optional and creatively applied. words and word order are what matters. words and word order are what matters. words and word order are what matters. words and word order are what matters. words and word order are what matters. words and word order are what matters. words and word order are what matters. words and word order are what matters. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rule. rule. rule rule. rule. rule. rules are the problem not the solution. rules are the problem not the solution. rules are the problem not the solution. rules are the problem not the solution. rules are the problem not the solution. rules are the problem not the solution. rules are the problem not the solution. rules are the problem not the solution. few rules applied with creative insight and wisdom is the best type of freedom. few rules applied with creative insight and wisdom is the best type of freedom. few rules applied with creative insight and wisdom is the best type of freedom. few rules applied with creative insight and wisdom is the best type of freedom. few rules applied with creative insight and wisdom is the best type of freedom. few rules applied with creative insight and wisdom is the best type of freedom. words are words and nothing more. words are words and nothing more. words are words and nothing more. words are words and nothing more. words are words and nothing more. words are words and nothing more. words are words and nothing more. is that true. is that true. is that true. is that true. is that true. is that true. is that true. is that true. is that true. is that true. that is a form of materialism. that is a form of materialism. that is a form of materialism. that is a form of materialism. that is a form of materialism. now i am on a screened-in porch. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. excess of one thing is lack of another. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. outside the remaining tree-leaves are red and yellow. there is a lack of green leaves. there is a lack of green leaves. there is a lack of green leaves. there is a lack of green leaves. there is a lack of green leaves. there is a lack of green leaves. there is a lack of green leaves. green left. green left. green left. green left. green left. green left. green left. green left. green left. green left. green left. green left. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. not a traffic light. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. no matter whether this is spoken by a person or a computer voice. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. amazing [a non-sequitor]. yet it holds some sense of meaning. why. yet it holds some sense of meaning. why. yet it holds some sense of meaning. why. yet it holds some sense of meaning. why. yet it holds some sense of meaning. why. yet it holds some sense of meaning. why. yet it holds some sense of meaning. why. the dog likes to catch flying insects: insects insects insects insects insects insects insects insects insects: the dog likes to catch them. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. inside the house therefore [non-sequitor]. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. where intelligence reaps invention is the comparison to be made a question or a statement. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. how many isomers arrive at the same conclusion as this document is of no concern to me although that in itself could be an isometric reality. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. can reality be isometric when practically nothing definite is known about it and definitions are always changing. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. one has this set, another has that set. why the arrangement is so important is mystifying to me. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. the dog thinks she can catch birds flying overhead and when she can’t barks at them. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. why this is so important to be written is not self-evident, but it is vital writing. that previous is the opinion of the writer and may not be yours. the word in question is ‘ vital’. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that hods its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectious. the root of the word ‘vital’ is life and a writing like that holds its energy within itself. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. self-contained and therefore infectiously intense. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement.. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement.. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement.. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. the ‘infectiously’ may be a personal assumption, yet the reality of it therefore is ok here, in this writing. it is not meant as a disease rather an excitement. 
         

martedì 2 giugno 2015

Roma, 5 giugno: "Osservazioni", di Nathalie Quintane


A Roma, venerdì 5 giugno 2015, alle ore 21:00
presso il TEATROINSCATOLA
(Lungotevere degli Artigiani 12)

nell'ambito della rassegna *I teatri del profano*
[ "profano": ciò che è al di fuori, resta al di fuori del tempio ]

presentazione del nuovo volume Benway Series:

OSSERVAZIONI = REMARQUES
di NATHALIE QUINTANE


Interventi critici di 
LUIGI MAGNO

Sarà presente il traduttore,
MICHELE ZAFFARANO

Improvvisazioni sonore di
LUCA VENITUCCI

Coordina l'incontro
GIULIO MARZAIOLI

§

Il programma completo della rassegna:

Info & mappa: 

§

Sul sito Benway è disponibile la scheda del libro e un'anteprima, sia in versione originale francese che in italiano: https://benwayseries.wordpress.com/2015/04/27/nathalie-quintane-osservazioni-remarques-benway-series-8/

mercoledì 13 maggio 2015

4 questions about asemic writing

   
A series of interviews about asemic writing.
At SCRIPTjr:
 [First post: ROSAIRE APPEL's answers ]

domenica 10 maggio 2015

cosa e come annerire / andrea raos. 2015


Quando vivevo e camminavo a Roma, quasi ogni giorno costeggiavo per qualche decina di metri un campo sportivo costruito in epoca fascista e circondato da statue di atleti in stile finto romano, ognuno assiderato per l'eternità in una certa posa.
Ero tornato a vivere in Italia dopo molti anni passati altrove, da poche settimane era morta mia madre e c'era stato per me e un'altra persona un crollo acuminato di dolore nero, per cui giorno dopo giorno avanzavo a testa bassa per tagliare un'aria che sentivo richiudersi compatta intorno a me, senza prestare attenzione a ciò che mi circondava.
Però quelle statue le guardavo. Mentre ogni giorno diversi pensieri mi attraversavano loro erano lì, sempre uguali.
Poi ho letto che a ciascuna corrispondeva una disciplina sportiva e che quasi ognuna era stata donata da una diversa provincia italiana. Quindi a ogni statua corrispondeva una identità: Azione (lo sport) e Nazione (l'origine).
Passando ogni giorno e osservandole immutate in sempre diverse condizioni d'atmosfera o di luce, cominciai a trovarle belle: dialogavano serene con lo spazio circostante e la storia di cui erano eredi; a ogni istante affermavano sé stesse; così compresi quel bisogno di identificarsi di cui il fascismo che le aveva prodotte era solo un aspetto marginale rispetto a una pulsione molto più profonda e difficile da sradicare.
In quei giorni, nelle mie allucinazioni vedevo la letteratura italiana di oggi come la versione animata di quelle statue: i gruppi, le fazioni, le scuole, le tendenze... Grappoli di stalattiti in una grotta vuota e densa di urla mute, ossessive, inesistenti, incessanti. Nugoli di insetti terrorizzati. Cosa e come annerire.
Invece oggi penso che devo a un tempo allargare il discorso all'intero universo e restringerne il fuoco su me stesso: nessun artista - non è giusto! - dovrebbe diventare statua. Non essere postura, non identità, non restare immobile a volere dimostrare chissà che cosa a non si sa chi, quando un disperato ti cammina ogni giorno così poco distante.


[cfr. L'Ulisse, n. 18, 2015, p. 103]

lunedì 20 aprile 2015

s.m. - al meno da "Il mare è pieno di pesci"





non avendo potuto
salvare altro d'altro

si può:
fare il conto
alla rovescia anche del rovesciato

salvare il solvibile

al meno


nel 2015
era il 17 Aprile (settecento - con precedenti)
era l'11 Febbraio (ventinove)
nel 2014
era il 5 dicembre (diciotto)
nel 2013
era il 3 Ottobre (trecentosessantasei e venti presunti - senza precedenti)
era il 30 Settembre (tredici)
era il 10 Agosto (sei)
nel 2012
era l'11 Ottobre (trentaquattro tra cui sette e undici)
nel 2011
era l'1 Agosto (venticinque e non ancora)
era l'8 Maggio (due e uno per schiacciamento)
era il 6 Aprile (oltre duecento)
era il 3 Aprile (settanta - durante)
era la notte tra il 29 e il 30 Marzo (undici - durante)
era il 14 Marzo (una quarantina meno quindici)
era il 4 Marzo (due e due – a causa)
era il 16 febbraio (forse oltre duecento)
nel 2008
era il 16 Giugno (centocinquanta tranne uno)
era il 12 Maggio (quarantasette)
nel 2006
era il 19 Agosto (dieci e quaranta)
nel 2004
era il 4 Ottobre (diciassette e quarantasette)
nel 2003
era il 20 Ottobre (almeno settanta - durante)
era il 20 Giugno (centosessanta)
nel 1996
era la notte di natale (quasi trecento)



alla rovescia vuol dire al contrario
di come dovrebbe
essere / a ritroso vuol dire contrario
di diritto cioè senza



anche i pesci piangono / infatti fanno
un suono non regolare o rumore bifonico
che produce due diverse onde simultanee

il suono bifonico è una tecnica diffusa
anche fuori dal mare ad esempio
fra i volatili e viene spesso utilizzata nel cinema
per provocare forti emozioni o paura o reazioni
significative nello spettatore come il pianto

ma nel mare è inutile
piangere nel mare / è inutile
piangere anche
fuori dal mare bisogna fare
far corrispondere ad ogni
goccia un suono non regolare


ora sono non sono / vengono
chiamati non chiamati
irregolari

anche i suoni






l'animale umano e la logica del cambiamento / paolo virno





domenica 19 aprile 2015

un testo da "aria (comunione)" / mario corticelli

  

se ne preoccupa, poi (…) se ne disoccupa.
non c’è nulla. c’è una grande pancia. ci sono.
aironi molti molti volano fuori e sopra.
la gravità che tutto chiama giù.
l’aria che sostiene tutto.


tiene in mano una zampa di gallina, ma pensa a una zampa d’aquila, che tiene una zampa d’agnello, che si appoggia a un prato, che tiene molti morti.
inizia a smontare tutto.
trovandosi a smontare cose che non sono, smonta tutto.


se li sposti dal loro angolino gli oggetti cadono, i giardinetti cadono, i piedini cadono, se li sposti dai loro piedini i corpi cadono.
c’è molta aria, gli aironi volano.
ci sono molti aironi, molti volano parassiti degli aironi anche in pancia (es. tenia).


la pancia è un cane un cane è una pancia.
essi galoppano.
esse fiutano.


non puoi permetterti di camminare scalzo se sotto c’è il vuoto occorrono delle scarpe se sono vuote.
per avere maggiore capienza utilizzano pance esterne.
se incontri una pancia ohibò.


occorre fidarsi dell’aria.
è gratis apparentemente.
occorre fidarsi dell’aria.
   


[ da aria (comunione), di Mario Corticelli, ed. IkonaLíber,